首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
(1)I can still remember the faces when I suggested a method of dealing with what most teachers of English considered one of thei
(1)I can still remember the faces when I suggested a method of dealing with what most teachers of English considered one of thei
admin
2019-05-30
88
问题
(1)I can still remember the faces when I suggested a method of dealing with what most teachers of English considered one of their pet horrors, extended reading. The room was full of tired teachers, and many were quite cynical about the offer to work together to create a new and dynamic approach to the place of stories in the classroom.
(2)They had seen promises come and go and mere words weren’t going to convince them, which was a shame as it was mere words that we were principally dealing with. Most teachers were unimpressed by the extended reading challenge from the Ministry, and their lack of enthusiasm for the rather dry list of suggested tales was passed on to their students and everyone was pleased when that part of the syllabus was over. It was simply a box ticking exercise. We needed to do something more. We needed a very different approach.
(3)That was ten years ago. Now we have a different approach, and it works. Here’s how it happened(or, like most good stories, here are the main parts. You have to fill in some of yourself employing that underused classroom device, the imagination.)We started with three main precepts:
(4)First, it is important to realize that all of us are storytellers, tellers of tales. We all have our own narratives — the real stories such as what happened to us this morning or last night, and the ones we have been told by others and we haven’t experienced personally. We could say that our entire lives are constructed as narratives. As a result, we all understand and instinctively feel narrative structure. Binary opposites — for example, the tension created between good and bad together with the resolution of that tension through the intervention of time, resourcefulness and virtue — is a concept understood by even the youngest children. Professor Kieran Egan, in his seminal book ’Teaching as Storytelling’ warns us not to ignore this innate skill, for it is a remarkable tool for learning.
(5)We need to understand that writing and reading are two sides of the same coin: an author has not completed the task if the book is not read: the creative circle is not complete without the reader, who will supply their own creative input to the process. Samuel Johnson said: A writer only begins a book. A reader finishes it. In teaching terms, we often forget that reading itself can be a creative process, just as writing is, and we too often relegate it to a means of data collection. We frequently forget to make that distinction when presenting narratives or poetry, and often ask comprehension questions which relate to factual information — who said what and when, rather than speculating on ’why’, for example, or examining the context of the action.
(6)The third part of the reasoning that we adopted relates to the need to engage the students as readers in their own right, not simply as language learners: learning the language is part of the process, not the reason for reading. What they read must become theirs and have its own special and secret life in their heads, a place where teachers can only go if invited.
(7)We quickly found that one of the most important ways of making all the foregoing happen was to engage the creative talents of the class before they read a word of the text. The pre-reading activities become the most important part of the teaching process: the actual reading part can almost be seen as the cream on the cake, and the principle aim of pre-reading activities is to get students to want to read the text. We developed a series of activities which uses clues or fragments from the text yet to be read, and which rely on the students’ innate knowledge of narrative, so that they can build their own stories before they read the key text. They have enough information to generate ideas but not so much that it becomes simply an exercise in guided writing: releasing a free imagination is the objective.
(8)Moving from pre-reading to reading, we may introduce textual intervention activities. ’Textual Intervention’ is a term used by Rob Pope to describe the process of questioning a text not simply as a guide to comprehension but as a way of exploring the context of the story at any one time, and exarnining points at which the narrative presents choices, points of divergence, or narrative crossroads. We don’t do this for all texts, however, as the shorter ones do not seem to gain much from this process and it simply breaks up the reading pleasure.
(9)Follow-up activities are needed, at the least, to round off the activity, to bring some sense of closure but they also offer an opportunity to link the reading experience more directly to the requirements of the syllabus. Indeed, the story may have been chosen in the first place because the context supports one of the themes that teachers are required to examine as part of the syllabus — for example, ’families’, ’science and technology’, ’communications’, ’the environment’ and all the other familiar themes. For many teachers this is an essential requirement if they are to engage in such extensive reading at all.
(10)The whole process — pre-, while and post reading — could be just an hour’s activity, or it could last for more than one lesson. When we are designing the materials for exploring stories clearly it isn’t possible for us to know how much time any teacher will have available, which is why we construct the activities into a series of independent units which we call kits. They are called kits because we expect teachers to build their own lessons out of the materials we provide, which implies that large amounts may be discarded. What we do ask, though, is that the pre-reading activities be included, if nothing else. That is essential for the process to engage the student as a creative reader.
(11)One of the purposes of encouraging a creative reading approach in the language classroom is to do with the dynamics we perceive in the classroom, Strategic theorists tell us of the social trinity, whereby three elements are required to achieve a dynamic in any social situation. In the language classroom these might be seen as consisting of the student, the teacher and the language. Certainly from the perspective of the student — and usually from the perspective of the teacher — the relationship is an unequal one, with the language being perceived as placed closer to the teacher than the student. This will result in less dynamic between language and student than between language and teacher. However, if we replace ’language’ with narrative and especially if that is approached as a creative process that draws the student in so that they feel they ’own’ the relationship with the text Then this will shift the dynamic in the classroom so that the student, who has now become a reader, is much closer to the language — or narrative — than previously. This creates a much more effective dynamic of learning. However, some teachers feel threatened by this apparent loss of overall control and mastery. Indeed, the whole business of open ended creativity and a lack of boxes to tick for the correct answer is quite unsettling territory for some to find themselves in.
"Textual Intervention" suggested by Rob Pope(in Para. 8)is expected to fulfill all the following functions EXCEPT ______.
选项
A、exploring the context
B、interpreting ambiguities
C、stretching the imagination
D、examining the structure
答案
C
解析
第8段第2句提到textual intervention的作用,将选项与原文作逐一对应排除即可解题。其中C项“发散想象力”没有在该部分提到,此外,由第7段可知这是预读(pre-reading)的作用,而textual intervention是阅读中的过程,故确定C项为答案。
转载请注明原文地址:https://kaotiyun.com/show/OobK777K
0
专业英语八级
相关试题推荐
StudyActivitiesinUniversityInordertohelpcollegeanduniversitystudentsintheprocessoflearning,fourkeystudy
CulturalDifferencesbetweenEastandWestI.FactorsleadingtotheculturaldifferencesA.Differentculture【T1】______【T1】___
Non-VerbalCommunicationsAcrossCulturesNon-verbalcommunicationscanaffirm,complementorevencontradictwhatisbeingverb
WhatAretheFunctionsofArt?I.Contextoffunctions—ArtistWhereandwhenHisorher【T1】_____【T1】______—Viewer
FourStepsofLearningaForeignLanguageTheeffortsspentinhighschoollearningaforeignlanguagewerealmostfutile.Fortu
AnalyzingFictionI.【T1】______【T1】______—Arrangementofeventstoa)【T2】_____【T2】______b)Raisethelevelofgeneralityc)【T3
EnglishasaGlobalLanguageI.EnglishisagloballanguageIt’swidelyusedineconomic,political,andscientificfields,
ThreeConceptsinArtHistoryI.Commonalities-Certainchunkof【T1】_____,【T1】______withinwhich【T2】_____wereshared【T2】_____
A、Controllabledevotiontosocialmedia.B、Poorfamilybackground.C、Academicpressureduringthewholecollegeyears.D、Overpro
(1)There’sthisgreatrecurringSaturdayNightLiveskitfromseveralyearsbackwherePhilHartmanplaysanunfrozencavemanw
随机试题
甲公司与乙公司签订买卖合同,约定甲公司于2016年2月1日向乙公司交付汽车一辆,乙公司须于2016年1月31日前支付35%的货款,2016年2月10日前支付其余货款。乙公司于2016年1月30日向甲公司支付了25%的货款。2016年2月1日,乙公司向甲公司
求双曲线=1上的点(x0,y0)处的切线方程.
心在体合肾在体合
下列不是高温热水管网中热水最低温度的有()。
普通股股东享有分配公司剩余资产的权利是有条件的。()
某药品销售公司为了提高企业的核心竞争力,一方面加大对内部人员的管理与培训,另一方面准备通过薪酬设计的方法加大对销售人员的刺激,人力资源部的小李负责这次薪酬改革方案的设计与研究。小李准备实行个人奖励计划,常见的方式有()。
十八届四中全会指出,加快推进反腐败国家立法,完善惩治和预防腐败体系,形成()的有效机制,坚决遏制和预防腐败现象。
求助者:男,18岁,高二学生案例介绍:求助者上初二的时候,和临班的一个女生好上了,后来总是好好分分,求助者觉得她很自我,太任性,老是和她对着干,摸不透她的脾气,感觉谈恋爱像在乞讨,但又忍不住和她在一起,半年前成绩下降的很厉害,怕影响高考,和她彻底分手了,
人的全面发展与社会发展的关系是()。
8086和Pentium 微处理器访问内存时,若需要插入等待周期,应分别在( )时钟周期后插入。
最新回复
(
0
)