2506 Thursday July 19 th

1. 2506Thursday July 19th July 2012 John Keenan j.keenan@worc.ac.uk

2. Essay on language teaching strategies Critically reflect on your approaches to learning and teaching . Evaluate your teaching strategies in relation to listening and speaking, reading and writing skills. Evaluate how you could improve your own language and literacy practice. Action Plan. (2200 words) (55% weighting) • Evaluation of spreadsheet assessment • Carry out a quantitative analysis of the results for at least one student group. • Write a short rationale showing why youchose the assessment approach, its validity and • reliability . Present the analysis using a spreadsheet which should include both numbers and appropriate graphs. On the spreadsheet note any key points of significance about the performance of the group or distribution of results. (1000 words) (25 % weighting) • Professional Learning Journal Assessments (PLJA)

3. ‘I must write, I must write at all costs. For writing is more than living, it is being conscious of living’ Anne Morrow Lindbergh, cited in McCormick Calkins, 1989: 3

4. Levels of the written code Grapho-phonemic Morphological Lexical Syntactic Subtextual – blocks paragraphs, scenes Textual – whole texts Contextual R Andrews, Tecahing and Learning English, London: Continuum, p61

5. What has worked for you in motivating to write?

6. Getting the buggers to write Give them a reason Create the right atmosphere Ensure correct behaviour Make writing fun Use ‘warm ups’ Keep it topical Group tasks in writing Challenge them Remove the stress Remove the blocks Offer a reward Show writing is relevant Show writing is important Show your writing Be an inspiration

7. 1 Remove the stress Remove the blocks

8. The girl is sad She has no friends

9. Demotivated – writing not good Scared – criticism Bored – writing does nothing Rebellion – won’t do what teacher wants

10. 2 Give them a reason to write Show writing is relevant Show writing is important

11. We read to know we’re not alone

12. Why do we write?

13. To be surprised. The writer sits down intending to say one thing and hears the writer saying something more, or less, or completely different. The writing surprises, instructs, receives, questions, tells its own story, and the writer becomes the reader wondering what will happen next

14. To understand ‘We write because we want to understand our lives’ McCormick Calkins, 1989: 3

15. There is no plot line in the bewildering complexity of our lives but that which we make and find for ourselves...Writing allows us to turn the chaos into something beautiful, to frame selected moments of our lives, to uncover and to celebrate the organizing patterns of our existence’ McCormick Calkins, 1989: 106

16. Creation ‘Writing is but a line which creeps across the page, exposing as it goes all the writer does not know...writing puts us on the line and we don’t want to be there’ Shaughnessy, 1977: 7 cited in McCormick Calkins, 1989: 106

17. Expression Sometimes when I’ve had a really tough day and nothing seems to be going right, I think, ‘nothing is mine.’ Well, my writing is. I can write is any way I want to. You know how your mother can tell you, ‘Go up to your bed right now.’ Nobody can tell you how to write your piece. You’re the mother of your story Cited in McCormick Calkins, 1989: 6

18. Express passions Teaching writing begins with recognition that each individual comes to the writing workshop with concerns, ideas, memories, and feelings. Our job as teachers is to listen and to help them listen. “What are the things you know and care about?” I ask writers McCormick Calkins, 1989: 5

19. It is not my piece of writing. It belongs to someone else McCormick Calkins, 1989: 120

20. The joy of blogging www.wordpress.com

21. 3 Create the right atmosphere Ensure correct behaviour

22. 4 Group tasks in writing

23. Peer conferences Writer reads aloud Listeners respond perhaps with questions The group asks and helps with what happens next McCormick Calkins, 1989: 129-132

24. ENCOURAGE MULTILITERACY

25. Multiliteracy Pedagogy • Pupil is intelligent, imaginative, linguistically talented • Acknowledges (celebrates) linguistic capital • Identity texts – sharing of the literacies that form their identity

26. Directed Activities Related to Texts Prediction Cloze using contextual clues Highlighting Card sorting Statement games Diagramming Re-creation (media, genre etc)

27. Teaching Reading

28. Learning to Read Stages 1. linguistic guessing on context 2. rote learning 3. discrimination - guessing based on knowledge of sounds 4. sequential decoding - grapheme-phoneme conversion rules 5. hierarchical decoding - logographic - other words which share parts of the word used as well as grapheme/phoneme Marsh e t al 1977

29. The Pleasure of the Text What are you reading now? What was the first book you remember reading? Your favourite book? Why? Which book will you read again?

30. What is a text? Texere – weave (L) maxim (ME) summary of discussion (17C) book (19C) 21C: visual, blog, poem, film, text, tattoo etc kinetic, multimodal, manipulable, without closure

31. The rights of the reader

32. Bottom up process – ‘inner voice’ phonetics Top down

33. Three Approaches to Teaching Literature Reader Response - aesthetic Critical Literacy Genre

34. 1. Reader Response - aesthetic 1960s, 1980s-90s Positioning of reader and text Reader-response dynamic Problem: unstructured, open-ended, text devoid of meaning

35. A text is a ‘blueprint’ only (p88) ‘In aesthetic reading the reader’s attention is centred directly on what he is living through during his relationship with that particular text’ (p25) Rosenblatt I (1978) The Reader, The Text, The Poem, Illinois: IUP

36. A text is a test of what you bring to the advert – OlivieroToscani Roland Barthes/Umberto Eco –’the death of the author’

37. 2. Critical Literacy Dale Spender Norman Fairclough

38. 3. Genre Theory ‘All fiction (and all non-fiction) is generic’ Cranny Francis, p. 93

39. ‘an understanding by teachers and by children that all our speaking or writing is guided, to a greater or lesser extent, by conventions of generic form, even where that takes the form of an attempt to break generic convention’ Kress, p.28

40. This is just to say I have eaten the plums that were in the icebox and which you were probably saving for breakfast. Forgive me, they were delicious, so sweet and so cold.

41. This is Just to Say I have eaten the plums that were in the icebox and which you were probably saving for breakfast. Forgive me they were delicious so sweet and so cold.

42. horror newspapers minutes postcards letters Types of genre email leaflets song diary romance thrillers website advertising

43. Generic conventions list of one genre

44. Pedagogies for Teaching Reading and Writing • Traditional • Progressivist • Postmodern Progressive • all contribute to today’s pedagogy

45. Pedagogical Spaces 1: Traditional • Petrus Ramus • Classical canon of literature • Great Men of History • Christianity • Knowledge in books • .

46. Pedagogical Spaces 1: Traditional The Enlightenment Renee Descartes

47. Pedagogical Spaces 1: Traditional • Institutionalised • Mass schooling • Rigid systems

48. Pedagogical Spaces 1: Traditional Pedagogy as Ideology ‘Literacy learning was…used as an instrument to inculcate ‘puncutality, respect, discipline, subordination…a medium for tutelage in values and morality’ Graff, 1987:p.262 cited in Katzinger and Cross

49. Pedagogical Spaces 1: Traditional The ‘iron cages’ of rationalisation Max Weber (1846-1920)

50. Testing Failed article John Holt – ‘most children fail’