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Comprehension and Learning: A Conceptual Framework for Teachers. Holt McDougal. ISBN 978-0-03-011011-5. Insult to Intelligence: The Bureaucratic Invasion of Our Classroom. Arbor House. ISBN 978-0-87795-827-7. Whose Language? What Power?: A Universal Conflict in a South African Setting. Teachers College Press.Writing and the Writer. Routledge. ISBN 978-0-8058-1421-7. Understanding Reading (5th edition). Lawrence Erlbaum Associates.The Book of Learning and Forgetting. Teachers College Press.The Glass Wall: Why Mathematics Can Seem Difficult. Teachers College Press.Unspeakable Acts, Unnatural Practices: Flaws and Fallacies in Scientific Reading Instruction. Heinemann. ISBN 978-0-325-00619-2. Reading Without Nonsense. Teachers College Press.Ourselves: Why We Are Who We Are. Lawrence Erlbaum Associates.Reading: FAQ. Teachers College Press.The Genesis of Language: A Psycholinguistic Approach. MIT Press. ISBN 978-0-262-69022-5. Awakening to Literacy. Heinnemann Educational Books.Essays into Literacy: Selected Papers and Some Afterthoughts. Heinemann. ISBN 978-0-435-08205-5. Joining the Literacy Club: Further Essays into Education. Heinemann. ISBN 978-0-435-08456-1. Between Hope and Havoc: Essays into Human Learning and Education. Heinemann. ISBN 978-0-435-08857-6. Understanding Reading: A Psycholinguistic Analysis of Reading and Learning to Read. Routledge. ISBN 978-0-8058-4712-3. Articles Edit. The Phi Delta Kappan. The American Journal of Psychology.Retrieved 29 January 2019. Retrieved 29 January 2019. By using this site, you agree to the Terms of Use and Privacy Policy. This paper reviews the scientific evidence for the appropriate selection of books, and argues that care in selecting books targeted to children’s developing skills will enhance the power and the pleasures of reading to young children. Subscription will auto renew annually. New York: Guilford. Cambridge, MA: Harvard University Press. Newbury Park, CA: Sage Publications. Baltimore, MD: Paul H.http://organicearthfiji.com/documents/file/cardinal-708-scale-manual.xml Brookes Publishing. Columbia University Teachers College, 308 pages, AAT 9939494, Dissertation, first 24 pages, ISBN 0599408308.Sydney, Australia: Ashton Scholastic. East Sussex: Psychology Press. New York: Holt. New York: Scholastic. New York: Scholastic. New York: Random House. Washington, DC: National Academy Press. New York: McGraw-Hill. Cambridge, MA: Blackwell. Download citation Received: 01 January 2008 Accepted: 14 January 2008 Published: 22 February 2008 Issue Date: June 2008 DOI: Keywords Book reading Storybook Young children Literacy Achievement Development Children’s literature Vocabulary Knowledge Caregiver Parents Subscription will auto renew annually. November 8, 2017RoutledgeNovember 7, 2017RoutledgeNovember 6, 2017RoutledgeWhere the content of the eBook requires a specific layout, or contains maths or other special characters, the eBook will be available in PDF (PBK) format, which cannot be reflowed. For both formats the functionality available will depend on how you access the ebook (via Bookshelf Online in your browser or via the Bookshelf app on your PC or mobile device). To learn how to manage your cookie settings, please see our. We can't connect to the server for this app or website at this time. There might be too much traffic or a configuration error. Try again later, or contact the app or website owner. Getting Started Five Homeschooling Styles What is the Charlotte Mason Method.I receive questions from “How do you do language arts the Charlotte Mason way?” to “What about composition?” to “How do you teach spelling and vocabulary?” to “Can you recommend a living English grammar book?” So let’s take some time to look together at language arts. Over the next several weeks we will discuss what is included in language arts and how Charlotte taught all those components in simple yet effective ways. Today, let’s start by defining what “language arts” means. What Is Language Arts, Anyway. Don’t let the fancy term throw you: “language arts.http://eco-region31.ru/film-manuale-d-amore-2” Back in Charlotte Mason’s day that term didn’t exist. It’s simply an educational label that was invented along the way. In fact, let’s take the term apart for a moment and think about what it means. “Art” is a way of communicating an idea, whether it is done through music, paint, sculpture, or dance. The goal of “art” is to communicate an idea. Now add the word “language” to that concept. The goal of “language arts” is to be able to use a language proficiently in order to communicate an idea. That’s it. Nothing scary or intimidating. Just learning how to communicate ideas through language. You’ve been teaching language arts to your children naturally since they were born. The Parts of Language Arts Since we want our children to be proficient at communicating ideas through language, we want to make sure we cover all the ways language occurs. So language arts include the four main components of Listening, Reading, Speaking, and Writing. Everything that relates to listening, speaking, reading, and writing in your selected language can be considered part of your language arts program. Teachers through the years have tried to break down that big goal of “communicating ideas through language” into individual skills to work on (as teachers are apt to do). Most language arts programs will include these specific skills. Charlotte Mason used about half that many subjects and still covered all the skills in an interesting and living way that kept the students’ attention and encouraged them to love learning. How? We’ll look at the specifics in the coming weeks. New Language Arts Handbook We’re excited to announce the newest addition to our Charlotte Mason handbook series: Hearing and Reading, Telling and Writing. Everything that we will cover in this series of posts is included in this new handbook, plus lots more helpful information and encouragement. In its pages you will find that Charlotte’s approach to language arts is simple, saves time, and uses common sense methods. It is my hope that having Charlotte’s methods and ideas gathered into one place, along with her own words, will provide you with a quick go-to resource that will boost your confidence and reassure you that you have “this language arts thing” covered. Be sure to download the free sample of this new book. It includes the simple what-to-teach-when chart, as well as the entire chapter on narration. Bookstore Select a category Art Study Audiobooks Award Winners Bible Study CM How-To Event Free Resources Geography Gift Ideas Habits and Parenting Handicrafts History Language Arts Lesson Plans Living Books Math Music Other Picture Study Portfolios Preschool Science Scratch and Dent Uncategorized Workshops SCM will have a booth in the exhibit hall. Your address stays private. We promise.) Post was not sent - check your email addresses. Email check failed, please try again. Sorry, your blog cannot share posts by email. Culturally Responsive Teaching Representation and a funds-of-knowledge approach establish the foundation for learning. Understand how to embrace diversity to cultivate academic success. Product Spotlight By the end of first grade, vocabulary is a predictor of either reading success or reading problems in middle school and high school. Dr. Margarita Calderon joins author and educator Patty McGee to discuss. How can you develop a more inclusive teaching practice. Author and educator Patty McGee and Maria Campanario, National Equity Consultant in Professional. In this episode she talks about that experience and how it changed her teaching. Laura Robb and Evan provide helpful tips for creating a process to evaluate your school’s culture of reading. In this blog post, author and literacy expert Leah Mermelstein outlines six qualities to help make your writing curriculum the very best it can be.In this blog post, principal and author Evan Robb outlines easy but impactful steps to creating a school-wide culture of reading. Study Read, providing practice and application. Build fluency and automaticity through interactivity. Two scripts for each unit expand the concept of the unit topic. Topic Libraries Students begin each grade with essential background information, and then expand their topic knowledge and vocabulary in the new year. Building for Successful TransferTeaching to Reach Each LearnerMaking Your Minutes CountSee sample 120-minute Pacing Guides for: Online Portal for Students, Teachers, and AdministratorsTools to Inform Instruction. Are there any themes you recognize. Do you like the book so far. Dialogue is a conversation between two or more characters, distinguished by the use of quotation marks. Since this novel was originally conceived as a play, dialogue, rather than descriptive narration, helps the reader to understand the characters and plot. In drama, it is the actions and dialogue of the characters that tell the story. Directions: To help you understand the differences between dialogue form and narrative form, complete the following activity. For each excerpt in dialogue form, convert it to narrative form. Once you have converted the dialogue, describe the purpose(s) served by each excerpt of dialogue. An example has been done for you. Dialogue Form: Lennie looked timidly over to him. “George?” “Yeah, what ya want?” “Where we goin’, George?” The little man jerked down the brim of his hat and scowled over at Lennie. “So you forgot awready, did you?” I gotta tell you again, do I? Jesus Christ, you’re a crazy bastard!” Narrative Form: Lennie looked over timidly at George. With a strange, confused apprehension he asked where they were headed. Angry and irritated over hearing the same question at least ten times, George snapped, and yelled at Lennie. Specific Purpose: By the way George scolds Lennie, we can see that George easily loses his patience with Lennie. There is also evidence of a dialect, although we are not completely clear what dialect it is. 1. Dialogue Form: “Ain’t a thing in my pocket,” Lennie said cleverly. “I know there ain’t. You got it in your hand. I don’t want no ketchup. I wouldn’t eat no ketchup if it was right here beside me.” “If it was here, you could have some.” “But I wouldn’t eat none, George, I’d leave it all for you. Write the correct answer on the line provided. Robert Burns (1759 - 1796) is probably the most famous of all the Scottish poets. After accidentally turning up a mouse’s nest while he was plowing in 1785, he wrote an ode to this mouse, expressing his sympathy for the mouse and his home. For the average English speaker, Burn’s poetry can be quite archaic and complex. On the left is the original poem by Burns. On the right is a translation of the words into modern English. Wee, sleekit, cowran, tim'rous beastie, O, what panic's in thy breastie. Thou need na start awa sae hasty, Wi' bickering brattle. I wad be laith to rin an' chase thee, Wi' murd'ring pattle. Small, sleek, cowardly, nervous little beast, Oh, what a panic is in your breast. You need not run away so hastily, With a quick scurry I would hate to run and chase you, With a murdering shovel. I'm truly sorry Man's dominion Has broken Nature's social union, An' justifies that ill opinion, Which makes thee startle, At me, thy poor, earth-born companion, An' fellow-mortal. I am truly sorry that Man’s power Has broken Nature’s union between man and beast And justifies that sad opinion Which makes you startle, At me, your poor, earth-born friend, And fellow mortal. I doubt na, whyles, but thou may thieve; What then.A daimen-icker in a thrave 's a sma' request: I'll get a blessin wi' the lave, An' never miss't! I do not doubt that sometimes you may steal; But so what. Poor beast, you must also live. A corn stalk in a field is a small request: I will be blessed with more, And will never miss it. Thy wee-bit housie, too, in ruin. It's silly wa's the win's are strewin. An' naething, now, to big a new ane, O' foggage green. An' bleak December's winds ensuin, Baith snell an' keen. Your tiny little house, now, is ruined. Its impractical walls the winds are blowing. And nothing now, to build a new one, Of green foliage. And bleak December’s wind beginning, Both severe and sharp. Thou saw the fields laid bare an' wast, An' weary Winter comin fast, An' cozie here, beneath the blast, Thou thought to dwell, Till crash.You saw the fields bare and vast, And the tired Winter coming fast, And cozy here, beneath the hearth, You thought to make your home, Until crash.That wee-bit heap o' leaves an' stibble, Has cost thee monie a weary nibble. Now thou's turn'd out, for a' thy trouble, But house or hald. To thole the Winter's sleety dribble, An' cranreuch cauld. That tiny, little heap of leaves and sticks, Has cost you many a tired nibble. Now you are homeless for all of your trouble, Without house or home. But Mousie, you are not alone, Your planning may be in vain: The best plans of Mice and of Men, Often go awry, And leave us nothing but grief and pain, For the joy we expected. Still, thou art blest, compar'd wi' me. The present only toucheth thee: But Och. I backward cast my e'e, On prospects drear. An' forward, tho' I canna see, I guess an' fear. Still, you are blessed, compared with me. The present moment only affects you: But Ouch. I think back On sad moments. And although I cannot see my life ahead I guess what may be, and I am afraid. Directions: After reading the original poem and the translation, answer the following questions. 1. The author’s attitude toward the mouse is best described as: a. sympathetic c. apathetic b. skeptical d. unattached 2. Which statement best describes the theme of this poem? a. Men are superior to mice and other small creatures. b. Life is made up of the simpler moments. c. Nature may not always be around, so we should appreciate it while we can. d. Even the most well-constructed plans can fail. 3. Why do you think Burns wrote this poem. Think about a time that you had planned for something to turn out one way, and it ended up another. What was your reaction. How did you adapt to the situation. How are you dealing with the situation now. Then answer the questions that follow. “They took places opposite each other at the table under the light, but George did not shuffle the cards. He rippled the edge of the deck nervously, and the little snapping noise drew the eyes of all the men in the room, so that he stopped doing it. The silence fell on the room again. A minute passed, and another minute. Candy lay still, staring at the ceiling. Slim gazed at him for a moment and then looked down at his hands; he subdued one hand with the other, and held it down. There came a little gnawing sound from under the floor and all the men looked down toward it gratefully. His voice was growing warmer. “An’ we could have a few pigs. I could build a smoke house like the one gran’pa had, an’ when we kill a pig we can smoke the bacon and the hams, and make sausage an’ all like that. We could have them for breakfast. They ain’t nothing so nice as smoked salmon. When the fruit come in we could can it—and tomatoes, they’re easy to can. Ever’ Sunday we’d kill a chicken or a rabbit. Maybe we’d have a cow or a goat, and the cream is so God damn thick you got to cut it with a knife and take it out with a spoon.” “Lennie watched him with wide eyes, and old Candy watched him too. If they are synonyms, use a dictionary or thesaurus to find an antonym for the vocabulary word; if they are antonyms, find a synonym for the vocabulary word. Several conflicts emerge at the same time, and ultimately cause the plot to materialize into an interesting and suspenseful story. Directions: For each situation from Chapters 1-4 below, identify the type of conflict the situation represents. Then identify the effect that the conflict has had on the plot so far. To help understand these character types, we must study the way that the author has written about each character. Two of the ways we can learn about a character through indirect characterization are: o The character’s own thoughts, feelings and actions o What other characters say, feel or act towards another character Directions: For each of the characters below, complete the chart with direct quotes of both direct and indirect characterization from Chapters 1-5 of the novel. Then, for the last two rows, decide how the character should be classified: protagonist, antagonist, or other, and round, flat, dynamic or static. One type of analogy expresses the relationship between synonyms. Below is an example: rare: scarce:: bargain: sale This means that the relationship between rare and scarce is the same as the relationship between bargain and sale. (The symbol “: ” means “is to” and the symbol “:: ” means “as”). An analogy may also involve antonyms. For example: narrow: wide:: long: short Another way to state this analogy is: “narrow is to wide as long is to short.” Directions: For each analogy, note whether the words are synonyms or antonyms. If they are synonyms, write “S” on the line provided; if they are antonyms, write “A.” Then fill in the blanks with either a synonym or an antonym, matching the word relationship before it. The theme of a piece of literature should not be confused with the subject of the work, but rather, it is a general statement about life or human nature. Most themes are not completely obvious and must be inferred by the reader. The reader must take a good look at the characters, plot, setting, mood, even the title, and how they work together, to understand and recognize the reasons the author wrote this particular piece of literature. Directions: Reflect on the elements of the novel given above to answer the following questions in complete sentences. Do you think the title of the novel is appropriate. Were his actions appropriate. I never get to talk to nobody. I s’pose you’re glad. I swear you hadda.” Part B: True or False Directions: Write out the word “true” if the statement is true, “false” if the statement is false. If you were a lawyer and Lennie was your client, how would you make your case for his innocence in the killing of Curley’s wife. Do you agree or disagree with George’s actions and the outcome of the novel. What is your opinion of the ending. Set in California in the 1930s Depression Era, the story begins as two men, George, tough but likable, and Lennie, a large, lumbering man with mental deficiencies, find their way along the Salinas River. They have come from Weed, where Lennie was accused of raping a girl. As the men make camp for the night, we learn more about George and Lennie’s relationship, and understand quickly that although George complains about having to take care of Lennie, he knows he needs Lennie’s companionship and friendship. It is in the first chapter that we learn of their dream of owning and running a farm together, where Lennie can tend the rabbits, and they both can “live off the fat of the land.” The next morning, George and Lennie arrive at their new job. George has told Lennie to keep his mouth shut, and that he would do all the talking. Because of this, the boss becomes immediately suspicious of their relationship, and warns George not to cause trouble. As the men find their way around the bunkhouse, a small, fiery man named Curley interrupts. He immediately picks a fight with Lennie, and after he leaves, the old swamper Candy warns the men about Curley’s temper and history of fighting, as well as about Curley’s new wife, whom he describes as a “tart.” Later that evening, Lennie excitedly plays with the new puppy that was given to him by Slim, the jerkline skinner. As George and Slim get to know one another, George realizes he can trust Slim, and confides in him their trouble in Weed, and why they were on the run. He reveals that Lennie never means to hurt anyone, and that he was just trying to pet the girl’s dress, but that he held on and scared the girl. She went running for help, and accused him of trying to rape her. After they play cards and talk for a while, Slim leaves and Lennie and George are left alone. Lennie asks to hear the dream again, so George tells the story, unaware that Candy is listening all along. Enthralled by the idea, Candy offers money he has saved to become a part of George and Lennie’s plan to own a farm. George gets excited at the prospect of the dream actually becoming a reality, and welcomes Candy to the “dream.” The peace and excitement is interrupted again, however, when Curley rushes in, looking for Slim. Thinking about the plans in motion, Lennie cannot contain his enthusiasm. Curley misconstrues his smiling face, and accuses Lennie of making fun of him. He punches Lennie in the face, and with George’s consent, Lennie fights back, crushing Curley’s hand. Slim warns Curley to keep his mouth shut about the incident, admonishing him to tell others that he caught his hand in a machine. The next evening, the men go to town to relax and unwind. Lennie, left behind, wanders into the barn to see his puppy, but is curious about the room in the barn which belongs to Crooks, the black stable hand. Even though Crooks is unfriendly and detached, Lennie tries to strike up a conversation. Crooks’s veneer begins to crack, and they get to know a bit about each other. Looking for Lennie, Candy comes by and joins the men. Crooks learns of the dream, and while he initially scoffs at the idea, he realizes the possibility, and offers an extra hand to get in on the plan too. Curley’s wife saunters in, and is treated coldly by the men. She becomes angry at their rudeness, and threatens Crooks. George comes in to get Lennie, and they leave. Candy and Crooks are left alone, and Crooks backs out on the deal, telling Candy he was never serious about joining them. Chapter five opens as Lennie sits cradling and petting his dead puppy. He was too rough with the puppy, and ended up breaking his neck. He is mad and scared, and worries that George will never allow him to tend the rabbits once George sees what he has done. Curley’s wife reappears and sees Lennie with the dead puppy. She talks with him about her loneliness and about dreams of becoming an actress. After Lennie confesses he likes to pet soft things, and that is how the puppy died, Curley’s wife says that she understands and invites Lennie to feel her soft hair. He does, and gets so excited that he doesn’t let go when she struggles, and ends up breaking her neck, killing her. Knowing that he had done a “bad thing,” Lennie runs away to the spot by the river. Candy comes into the barn and sees Curley’s wife, dead, and immediately runs for George. Both George and Candy know that Lennie is responsible. Not wanting to be accused of being an accomplice, George goes back to the bunkhouse as Candy tells the other men about Curley’s wife. Curley immediately assumes Lennie is responsible, and goes after him. The other men go along to help. Meanwhile, after telling the men that Lennie went another direction, George buys himself and Lennie more time, and he runs to the river edge, where they had agreed to meet should there be any trouble. Before George arrives, Lennie sees images of his Aunt Clara and a giant rabbit, taunting him. George arrives and tries to calm and console Lennie. As he retells the story of the dream, and reassures Lennie that he is not mad at him, George shoots Lennie in the back of the head, killing him. The other men arrive, and only Slim understands the truth of what transpired. Are dreams and goals important. What happens when those dreams are never fulfilled. What if other people make fun of or doubt those dreams? Is it more important to look at reality or to have dreams? Can you do both? 4. Steinbeck uses very descriptive language to create a vivid and realistic setting. Have students read the first two paragraphs of Chapter One. Then break the students up into 5 small groups. Assign each group a different sense: touch, taste, sight, hearing, taste, smell. Have the groups re-read the paragraphs, finding as many sensory details for their sense as they can. (The groups with taste and smell will have a more difficult time.) After 3 to 5 minutes, rotate senses and have them do the same thing. Keep rotating until every group has found details of each sense. After they have finished, discuss the effect of the sensory details on the mood and comprehension of the reader. 5. Have students research the economic and political concerns regarding the Great Depression. Choose from President Hoover, President Roosevelt, Wall Street, “New Deal,” Social Security, rumors of Hitler, etc. Have them compile the information in a brochure or poster, complete with appropriate photos. 6. Have students research the trends of the 1930s, including music, theater, movies, literature, fashion, etc. Have them compile the information in a poster or newspaper front page, complete with advertisements, weather predictions, photos, classifieds, announcements, etc. Allow at least three days for in-class activity. 7. Have students find 5-10 photographs taken during the Depression Era. Have them create a poster board or collage of the photographs. Be sure to include pictures. 4. Create a new book jacket for the novel. The book jacket must have a picture that represents the novel on the front cover, and a summary of the novel on the back cover. Other elements, such as critics’ reviews and an author biography and photo will earn additional points. 5. Create a shoebox diorama of the ranchers’ bunkhouse or the barn where Lennie slept with the puppy. Include as many accurate details as possible. 6. Create a detailed map of where the story takes place.