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Women in American History Similar ideas popular now Women In History African American History Te 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 “Bearer of the Morning” 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 – a lecture circuit used by entertainers, politicians and religious leaders before the advent of radio broadcasts. Victoria 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. Cynthia 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. Edmonia 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. A 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 ‘knocker-ups’ or ‘knocker-uppers’. Mrs. Smith was paid sixpence a week to shoot dried peas at market workers’ windows in Limehouse Fields, London. Photograph from Philip Davies’ Lost London: 1870-1945. Dr. 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... Amy 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 I 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.

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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. Stockings 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. Girls 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. Social 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. Fabrics 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. Children's Clothing in the 1900s 1950s Clothes for Children Children's Clothing From the 1920s Farmer's Wife's Clothes in the 1800s How Did Teenagers Dress in the '60s & ... Irish Clothes of 1850 1930s School Clothes School Clothes in the 1900s Women's Clothes in 1943 What Teenagers Wore in the 1940s What Did Kids Wear in the 80s? 1950s Gangster Clothes What Do Women Pirates Wear? Clothes Worn in the Seventies What Did Teenagers Wear in the '60s? Children's Shoes in the 1950s Fashion for Children in the 1960s Children's Clothing of the 1800s Materials Used to Make Jeans Clothing of the Gold Miners in the 1850s Kathryn 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.

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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’ve 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. 5. 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. 6. 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. 7. 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. 8. 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. 9. 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, 1KΩ resistors, 9V batteries, light dependent resistors, blue LEDs, Transistors, 470Ω resistor and battery clips. 10. 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.

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Let his wacky rhymes inspire your family's playful storytelling. - Parker Barry Today, in honor of Dr. Seuss’ birthday, kids across America will celebrate reading as part of Read Across America. Seuss’ silly stories, filled with rhyme and wordplay, have been favorites for generations, inspiring a love of reading in kids and adults. We parents know that reading is fundamental for kids, but parents can encourage language development and increase kids’ 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: - vocabulary development - comprehension skills that will lead to stronger readers - critical thinking and listening skills - moral lessons the storyteller throws in Look to Dr. Seuss himself for inspiration on how to become a master creative storyteller. - 1. Mix outrageous characters with relatable characters. The Cat in the Hat ranks among the most outrageous characters in kids’ 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 — or put your own kids right into the stories! You’re the storyteller, so you can do whatever you want. - 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 “I do not like green eggs and ham. I do not like them, Sam I am!” It can be tricky, though, to find just the right word when telling a story out loud, off the cuff, so don’t 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’ll get a laugh, probably, at great speed.) - 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 — be that encouragement to build them up, reminders to treat others gently or just letting them know they are loved. - 4. It’s OK to borrow. Still, making up your own stories isn’t easy. It’s fine to borrow inspiration from familiar stories and change things up a little bit – altering character names or the ending. The important thing is to have fun and enjoy sharing time and words.

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William Faulkner (1897-1962) After 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. Faulkner'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. When 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. He 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. Faulkner 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 –Yoknapatawpha 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.

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(1825–1911). 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’s rights. She 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. Watkins published Forest Leaves, a collection of poems and prose writings, about 1845. In 1850–52 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. The 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 “Education and the Elevation of the Colored Race.” 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. In 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 “Bury Me in a Free Land.” Harper’s 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 “The Two Offers”, which appeared in the Anglo-African Magazine in 1859, was said to be the first story published by an African American author. Upon 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’s 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. Harper’s 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’s 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’s works were collected in Complete Poems of Frances E.W. Harper (1988) and A Brighter Coming Day: A Frances Ellen Watkins Harper Reader (1990).

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Whole school writing projects are a fun, creative and simple way to enthuse children and promote writing across the curriculum. This is a re-blog post originally posted by @ieconsultancy and published with kind permission. The original post can be found here. Do you have a blog post which you are proud of? Submit your blog post for reblogging on UKEdChat.com by clicking here. When children are engaged, they write more and the writing they produce is of a much higher quality – 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. Choose your stimulus and outcomes carefully It is important to find an engrossing stimulus or ‘hook’ to grab your children’s attention. The resource, whether it’s 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 – it could be writing activities carried out alongside parents, creating a display for your school’s entrance hall, publishing a school book showcasing every child and adult’s writing, using new technology to promote writing or even delivering a podcast or blog for the school website. A fantastic resource to use, if you’re 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’s journey from Italy to America as a young boy -as told to his granddaughter – and perfect for inspiring writing of all genres. In the story, a memory is tucked away in each of the Grandfather’s 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. Invite 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. Get everyone involved in the planning Schedule 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 – 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. However, 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’ views on writing – what do they enjoy about it and what do they find challenging? You might use Just Imagine’s pupil perception survey or the Everybody Writes auditing tool. Give 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’s ideas on sugar paper and create a display in your staff room, which everyone can add to – LSAs, governors, MDAs etc. If using ‘The Matchbox Diary’, 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 You may wish to invite local senior citizens into the school to discuss and share their memories. Ensure progression of outcomes Whilst planning writing opportunities relating to your event or stimulus, it is vital that you ensure progression across the year groups and within each class – 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. Using 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. Creating a buzz Creating a buzz about the whole school writing project is important, firing up children’s 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 ‘special,’ 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. Share, celebrate and review Allow time to share and celebrate the writing that has been created, both in your class and across the school. Children could explore each other’s 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’s work or you could create a whole school, interactive display where children can read about each other’s special memories, open the matchbox diaries and see, touch and smell a range of ‘memories’ and artefacts. Finally, 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. You need to Login or Register to bookmark/favorite this content. Be the first to comment

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What Makes the Leaves of Savannah Hollies Turn Yellow? When the leaves of your “Savannah” 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. “Savannah” 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. Holly 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. Scales and spider mites can also infest “Savannah” 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. Tar spots and leaf spots are two diseases that cause yellowish circular-shaped spots to appear on the leaves of “Savannah” 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. Yellowish 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 “Savannah” 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. Once 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 “Savannah” holly leaves with iron chelate won’t affect newly emerged leaves, so you must address the iron deficiency problem to keep it from returning. Considerations and Precautions Before 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. Marylee 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.

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Last week, we dealt with subplots and different types of subplots. Now, it’s time to move on from plots to another aspect of storytelling. And, that is exactly what we are going to do. Once you have the plot ready, you’ve 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. In 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. The 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. When a narrator speaks what they are ‘seeing’, 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. First Person POV - Recognizing the first-person narrative is easy. A story where the narrator uses ‘I’ to identify themselves and relies on the first-person pronoun is a story narrated in the first person POV. - The narrator can be the main character or a side character. The action may or may not revolve around your narrator. - 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. - 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. - The first person POV has these limitations and cannot be used for all stories. - Ex: Jane Eyre by Charlotte Bronte. Second Person POV - This is the least used POV in fiction writing, especially in a full-length novel. - Using the pronoun of ‘you’, the writer draws the second person into the story and makes them a part of the action. - In most cases, the reader becomes ‘you’. - 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. - Some writers have successfully tried using this POV in their fictional works. - Ex: Happy Endings by Margaret Atwood (Short Story). Bright Lights, Big City by Jay McInerney (full-length novel). Third Person POV - This is the most widely used POV in fiction writing. It is easy to use the third person POV. - The narrator is not personally involved in the story. Instead, they play the role of an observer and recount the incidents to the readers. - The third person is again divided into two- Omnipresent and Limited. - Omnipresent Third Person POV is where the narrator knows everything. The narrator knows what’s in the mind of each character, the narrator knows when a person is lying, and the narrator knows what will happen next. - Ex: Scarlet Letter by Nathaniel Hawthrone. - Limited Third Person POV is where the narrator does not know everything. It’s 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. - Ex: Pride and Prejudice by Jane Austen. We know the story from Elizabeth’s POV and see things as she does. Harry Potter by JK Rowling also uses the same POV. How 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. Visit here: https://writers.artoonsinn.com/2018/07/13/once-upon-a-fairytale/ Why not have another easier example? - 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’t 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. - 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’t 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. - 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’s 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. - 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’t. Hadn’t Mark always blamed you for it? Didn’t 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. Test: Now, tell us in the comments which of the examples belong to which POV. Exercise for readers: Pick any story (Micro/ Flash) you’ve written for ArtoonsInn and re-write it (at least 150-250 words) from another POV than the original in the comments (on FB). *Image by Monoar Rahman Rony

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Get Updates to Exercise Database by Email Public Speaking, Exercises, Decision Making, Attention and Focus, Memory :::: 70 Ratings :::: Monday, June 20, 2016 This is a fantastic exercise in teaching a number of important topics related to memory and retention. The exercise is actually rather simple—going 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: - Effect of primacy on memory - Effect of recency on memory - Element of surprise You will hear a list of words. Write down as many of them as you can recall. What You Need - A list of words. Consider the following list: - Provide the papers to delegates. - 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. - Say “Are you ready”?” - Once everyone is ready, start reading the words from the list. - Once finished, expect everyone to write down what they can recall. - Now ask the following questions and expand on the related topics: - Primacy. “Who remembered ‘spoon’?” - Many of you remembered this word. This is because of primacy which means we are good at remembering the first item in the list. - Recency. “Who remembered ‘car’?” - 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. - Repetition. “Who remembered ‘chair’?” - Many of you remembered this because it was repeated three times in the list. - Surprise. “Who remembered ‘scorpion’?” - 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. - False-memory. “Who remembered ‘table’?” - Was this really in the list? (See if anyone spots that this word was not in the list). It wasn’t in the list, but you might have believed that it was because there were several related words such as “chair”, “dinner”, “spoon”, and “plate” which triggered an association with “table” and led to a false-memory. - Follow with a general discussion. Explaining the Exercise: 2 minutes Activity: 15 minutes including explanations Group Feedback: 5 minutes What 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? The Most Similar Exercises to This in Order of Similarity Are: There are currently no comments, be the first to post one. Rate = 2.77 out of 5 :::: 70 Ratings.

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Age range: 5-11 years This 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. WHY IS IT IMPORTANT? A 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 “they lived happily ever after. The End.”, will close the proper “story telling time” 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. HOW TO DO THAT? To 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’s inner world. These activities should be considered not only as educational, but also as fun and creative in order to become more attractive. TOOLS TO ENCOURAGE MOTIVATION Paintings, 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. PREPARATION / REALIZATION Educational sheet for each student, pencils, felt-tip pens, pastels, colored sheets, glue. The 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 décor of the story being told to render the story graphic and more tangible. OTHER OPTIONS IN CASE THE CHILD / CHILDREN REFUSE TO PARTICIPATE IN THE ACTIVITY: They 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. - allow to be an observer of the activity of the others; - propose them to retell the story; - incite them to help another participant; - propose them to model the character or an object of the story. - discussion of the content through specific questions: - Who are the characters? - What are their actions? - Which of the characters do you sympathize with the most? What do you think this story is telling us? - activities for developing storytelling skills: - narration (by illustration, with a character) of a certain moment - an interview with a character from the story - other activities: At the end of the session, depending on its content, use common expressions and phrases such as “Today you were captivating storytellers”, “You were wonderful and very artistic!” is both a way to completely close the storytelling related session, and to motivate the pupils for other activities of this type.

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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’t an exception. Making data-supported decisions is the best way to achieve the ultimate efficiency of learning and teaching, improving the learners’ experience, increasing the satisfaction of both students and teachers, and even cutting the operational costs of an educational institution. Let’s find out how data-driven decision-making in schools changes the way we teach and learn. What Is Data-Driven Teaching? Data-driven teaching refers to the process of using data collected from multiple sources to improve the process of knowledge delivery, students’ 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. Data-driven decision-making in education, in turn, means using the insights extracted from the data to develop better teaching and learning tactics and approaches. But 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. The types of data to use in data-driven decision-making are listed below. Types of Data to Use for Decision-Making in Education - Academic achievement data. This data gathers the statistics on students’ performance for a certain period of time, depending on the discipline. - Non-academic data. This data refers to the information about students’ attendance and their socio-economic status. - 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. - 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’ expectations. The Benefits of Data-Driven Decision Making in Education Let’s 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. - 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. - Performance. A personalized learning process is more encouraging and interesting for students. Their deeper engagement results in improved performance, improving attendance as well. - Satisfaction. A good level of personalization leads to improved students’ performance. This contributes to the bigger satisfaction of students for their success and of teachers for their work. The issue of teachers’ 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 “teachers’ satisfaction is both an aspect and a consequence”. How Сan Teachers and Administrators Use Data-Driven Decisions in Education? Below are some ways to make data-driven decisions in education, building a holistic strategy for education delivery improvement. - Analyze Previously Taken Decisions This 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. - Find the Patterns and Anomalies Artificial 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. For example, an educational institution can gather data on student attendance and align it with students’ 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. - Create Data-Inspired Lessons This 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. - Visualize the Data Data-driven decision-making in higher education works better when the insights extracted from the data are shared with stakeholders, administrators, and other teachers. Visualizing the data patterns is one of the best ways to represent them and show a clear picture. AnalyticVue’s customizable dashboards make it easy to display data and filter it for enhanced data analysis, reporting, and ultimately, decision making. - Plan for the Future Educational 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. Tools for Data-Driven Decision Making in K12 Education There 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.

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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. In 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. Table of contents What is Empathy? Empathy is the ability to understand and share the feelings of others. It involves being able to put oneself in someone else’s 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’s perspective and emotions. Why is Empathy Important? Empathy 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. Challenges to Developing Empathy in Young People Despite the importance of empathy, many young people need help with developing this skill. There are several reasons for this, including: - Cultural messages that emphasize individualism and competition over collaboration and community - Social media and technology that promote self-promotion and self-gratification over genuine connection and understanding - Lack of opportunities for meaningful interaction with diverse individuals and communities - Prejudice and bias that can limit one’s ability to see and understand different perspectives Strategies to Nurture Empathy in Young People There are several strategies that parents, educators, and caregivers can use to help young people develop empathy: - 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. - 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. - Encourage Perspective Taking: To develop empathy, young people need to be able to see the world from someone else’s 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’s shoes, and by providing opportunities to engage with diverse individuals and communities. - 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. - 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. Activities to Promote Empathy in Young People There are several activities that parents, educators, and caregivers can use to promote empathy in young people. These include: - 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’s shoes. This can involve acting out different scenarios, or sharing stories and experiences that highlight the importance of empathy and compassion. - 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. - 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. - 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. - 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. Conclusion: Nurturing Empathy for a Better Future Empathy is a crucial skill for building positive relationships and creating a sense of community. However, in today’s 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.

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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. Explain 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. Use 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." Reorganize 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. - 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. - 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. Maria 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.

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An international team of astronomers has used Hubble to peer into the atmosphere of Jupiter’s biggest moon, Ganymede – and find evidence for water vapour there. Ganymede is the biggest of our Solar System’s moons, with a diameter of 5,200km – 1.5 times bigger than our own satellite. It’s 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’s oceans combined. But it’s 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’t 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). These 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’s gravity holds onto the heavier oxygen molecules. Astronomers have long suspected that there must be some water in Ganymede’s atmosphere, too, created from the same process on the surface. In particular, the icy surface “sublimates”, with ice turned directly into water vapour (H2O) and skipping the liquid stage. Modelling has suggested that H2O should dominate the atmosphere at Ganymede’s subsolar point – that is, the warmest part of the atmosphere where the Sun’s radiation directly hits – while molecular oxygen dominates the rest. Now, this new research has turned Hubble’s 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’s Cosmic Origins Spectrograph to study the chemical composition of Ganymede’s atmosphere. Their findings were consistent with the modelling: spectral signatures indicated that H2O was more abundant around the subsolar point, but O2 was more abundant elsewhere. The result is published in Nature Astronomy. The team notes that finding water in Ganymede’s atmosphere will inform future space missions, including the European Space Agency’s 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. “Several science instruments are equipped to measure Ganymede’s 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,” the authors explain in their paper. “Our 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.” - Jupiter’s moon Europa may glow in the dark - Mystery solved: Jupiter’s X-ray aurora explained - Hydrothermal vents on Saturn’s moon Enceladus may harbour life Originally published by Cosmos as Water in Ganymede’s atmosphere Lauren 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. Read science facts, not fiction... There’s 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.

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Inclusion of a social media simulation tool has enhanced the learning and engagement of students… Professional 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. Role-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. Digital literacy: Students can learn about online safety, privacy, and digital citizenship through a social media simulator. Media analysis: Students can use a social media simulator to analyze and evaluate the impact of different types of content on social media. Marketing and advertising: Students can learn about marketing and advertising strategies by creating and managing simulated social media accounts for fictional businesses. Collaboration: Students can use social media simulators to collaborate on group projects and assignments, such as creating a social media campaign for a fictional product. Language learning: Students can use social media simulators as a tool to practice and improve their language skills. Research: Students can use social media simulators to conduct research on topics such as online behavior, communication patterns, or the spread of misinformation. News 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. Creative 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. Career 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. Ethical 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. Hands 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. Public speaking: Students can use social media simulators to practice public speaking skills by creating videos, live streaming, and hosting virtual events. Critical 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. Entrepreneurship: Students can use social media simulators to learn about entrepreneurship by creating and managing simulated social media accounts for fictional business. Digital 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. Community 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. Cultural 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. Social media simulators are versatile tools that can be used in many different ways to enhance students’ 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.

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“Reading is to the mind what exercise is to the body.” Joseph Addison There are multiple ways to engage with literature – with our mind, our emotions, and our senses – and there are multiple tools that facilitate a deeper understanding of what we read. Employing literary theories and critical reading will initiate that process. Consider 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. As 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. When 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’re taking in and how we are processing it. Once 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. - New Criticism – 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’s meaning. Applying this level of analysis enables writers to see other perspectives rather than our understanding. - Biographical/Historical – 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’s writing and this can add dimensions to the story previously unrecognized. Whenever 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’s 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. Engaging 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?

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What is an Expository Essay? When 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. On 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. What is an expository essay with examples? An 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. It 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; - Descriptive details - Charts and graphs What is the main purpose of an expository essay? So, 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. What does an expository essay mean? Expository 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. What are The Different Types of Expository Essays? Below are the various types of expository writing; Problem And Solution In 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. Cause And Effect This 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. Compare And Contrast In 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—for example, a comparative study between infrared and steam saunas. Definition And Classification - Definition:- The essay provides a complete description of a subject, elaborating on the meaning, types, and examples. - Classification: This essay categorizes objects, ideas, or organisms. This 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. What are four examples of expository? Below are examples of expository essays from the different types of expository essays; - Problem and solution essay – Write about a contagious disease such as TB or Corona and how to prevent the spread of the disease. - Cause and effect essay – You can write about the Causes of climate change and the anticipated long-term effects. - Compare and contrast essay – 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. - Classification essay – This entails categorizing types of items and delving into deeper details regarding each subcategory. Such as different types of fabrics and their features. - Process essay – This can be a tutorial on how to do a particular thing, such as make croissants or replace a damaged electronic component. What are the five elements of an expository essay? An expository essay is generally made up of five key elements. Below are the key elements of an expository essay; The structure of an expository essay typically comprises five paragraphs: - 1st body paragraph - 2nd body paragraph - 3rd body paragraph However, the structure can vary in academic writing based on the teacher’s or professor’s preferences. Topic Sentence, Thesis Statement, and Subtopics A thesis statement summarizes the key points of the essay. Let your chosen expository essay topic guide you into writing your thesis statement. How to write a thesis statement for an expository essay When writing your thesis statement, clearly state the central point you want to make. And mention the key elements you’ll explain. Shorten the thesis statement by stating your point in one or two sentences. Ideally, 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. This 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. Another transition sentence is required after the second and third subtopics, respectively. Lastly, you will need a final transition sentence before getting to the conclusion. Evidence and Examples This is essentially the whole point of the essay. The evidence and examples form the basis for the arguments supporting your topic and thesis statement. Wrap up the content of your essay in this section. How to write a conclusion for an expository essay The 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’s purpose. How to start an expository essay The 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’s interest. Pro 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. Are you feeling overwhelmed and need help with your expository essay? Then, contact us, and we will assist you in no time. Top-quality papers guaranteed 100% original papers We sell only unique pieces of writing completed according to your demands. We use security encryption to keep your personal data protected. We can give your money back if something goes wrong with your order. Enjoy the free features we offer to everyone Get a free title page formatted according to the specifics of your particular style. Request us to use APA, MLA, Harvard, Chicago, or any other style for your essay. Don’t pay extra for a list of references that perfectly fits your academic needs. 24/7 support assistance Ask us a question anytime you need to—we don’t charge extra for supporting you! Calculate how much your essay costs What we are popular for - English 101 - Business Studies

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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. Learn the Abbreviations A 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. Review the Table of Scores The 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. Analyze the Written Report A 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. Work with an Adviser Professionals 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. Maria 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.

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“Welcome to the New World Curriculum and Learning Guide” 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’s experiences first into a Pulitzer-winning comic in The New York Times, then into the full length graphic novel Welcome to the New World. In 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, “Teaching the Refugee Experience: Welcome to the New World,” featuring author Jake Halpern and other experts, to learn more about the graphic novel, the Aldabaan family and teaching the curriculum to diverse classrooms. For 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. - Why do people leave their homes? - What factors affect their decisions? - What supports and challenges do people encounter when immigrating to the United States? - How do people respond to newcomers? - What is the refugee crisis? - What is our responsibility toward refugees? - How does a graphic narrative effectively tell a story? Social Studies, English Language Arts, World History or Current Events classes Refugees, Syrian Civil War, migration, assimilation/acculturation, graphic novels Nine lessons, to be used serially or individually Common Core Standards: This curriculum fulfills these Common Core standards: Our webinar, “Teaching the Refugee Experience: Welcome to the New World,” covers implementing “Welcome to the New World Curriculum and Learning Guide” 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. Praise for Welcome to the New World The New York Times says, “Sloan and Halpern deliver a story that fully inhabits its comics form, and breathes with an easy visual elegance.” Naomi Shihab Nye, Young People’s Poet Laureate and author of Habibi, says “Welcome to the New World is a project of the greatest humanity and care…. 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.” Kirkus Reviews calls the graphic novel “An accessible, informative journey through complex issues during turbulent times.” Welcome to the New World has a rating of 4.3 out of 5 on Goodreads. One reviewer says, “This story really sang to me because I too am an immigrant to the USA.”

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Domestic Workers and the Civil Rights Movement In 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’s 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’s success depended on their strategic use of mobilization techniques such as collective organizing, storytelling, and a politics of refusal. During 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 “mammy.” 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’s 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. Leading 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’ 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. Throughout the Civil Rights Movement, domestic workers became central to the Movement’s success. Many domestic workers, including Bolden, were inspired by Rosa Parks’ 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’ 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’ 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. After the boycott, domestic workers were still at the forefront of the Civil Rights Movement’s 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’s 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’s mission. She believed that legal integration efforts would only be effective if the widespread economic disparities amongst Black communities were also addressed. Bolden 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’ 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 “network of maids” 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 “freedom buses.” 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. A 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. By 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. The HTA organized to fight for what they referred to as the three p’s: “pay, protection, and professionalism”. 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—a staunch supporter of the domestic worker’s 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. In 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’s 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 “my own mother was a domestic so I speak from personal experience.” 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. Although 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— 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’s 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’s 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. Comments on “Domestic Workers and the Civil Rights Movement” Great work Grand Daughter! Very informative writing and reading! Keep up the Great Work! Having 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’ lives. Good article, very interesting and inspiring. Comments are closed.

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Research-Backed Benefits of Reading for Young Children As a parent, you know that reading with your child is important to their development. But 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? From language and cognitive development to social skills and even academic performance, the benefits of reading are numerous and far-reaching So grab a cozy blanket, snuggle up with your little one, and let’s dive in! Language and cognitive development One of the most well-known benefits of reading for young children is its impact on their language and cognitive development. When 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. This is a crucial skill for reading success, as it helps children to decode words and understand how letters represent sounds. But the benefits of reading don’t stop there. Research has shown that reading with young children can also improve their concentration, memory, and problem-solving skills. Imagine the endless possibilities for your child’s future if they have strong language and cognitive skills! So, what can you do to maximize the language and cognitive benefits of reading to your 3-year-old? - encourage a love of reading from an early age - choose age-appropriate books - and use rich and varied language when reading with your child And don’t be afraid to have some fun with it – use silly voices and make up your own endings to stories. Trust us, your child will love it (and so will you). In the end, reading with your child is a win-win situation – 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. Want a step-by-step home-based reading program for effective language, reading and cognitive development? Social and emotional development Reading with your 3-year-old can do more than just teach them new words – it can also profoundly impact their social and emotional development. Reading with your child can help them develop important social skills such as: - understanding others’ perspectives - and communication Reading can also be a great way to help your child manage their emotions and develop self-regulation. Children’s 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. But the benefits of reading don’t stop there – it can also positively impact your child’s mental health and well-being. So how can you make reading time a positive experience for your child’s social and emotional development? Here are some tips: Make reading time a special bonding experience. Snuggle up with your child and a good book and make it a relaxing and enjoyable activity for both of you. Encourage conversation and discussion during storytime. Ask your child questions about the characters and the plot, and encourage them to express their thoughts and feelings about the book. Choose books that reflect and address your child’s emotions and experiences. Books that explore themes like friendship, kindness, and managing emotions can be especially helpful for young children. So the next time you sit down to read with your 3 year-old, remember that it’s not just about teaching them to read. It’s also about helping them grow into well-rounded, empathetic, and emotionally intelligent individuals. And isn’t that what we all want for our kids? Early literacy skills and academic success Reading with your child is an essential part of their early development and can have lasting benefits on their academic success. Research 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. These skills are crucial for reading success later in life and can significantly impact academic performance. Establishing 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’s reading development. But let’s be honest, reading with a 3 year-old can be challenging. They may not have the attention span for a long story and may not always be in the mood for sitting still. That’s why making reading time special and meaningful for your child is important. Creating 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. So, 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! Just remember, it’s not about reading the entire encyclopedia in one sitting (although, if your 3 year-old is up for the challenge, go for it). It’s about creating a love of reading and fostering early literacy skills to serve your child well throughout their academic career. As parents, it’s important to remember that reading with your 3 year-old is about so much more than just learning letters and words. Reading is a powerful tool for helping young children develop in so many ways, from language and cognitive skills to social and emotional development. And 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. - So don’t hesitate to make reading a daily habit with your little one. - Choose engaging and age-appropriate books - create a cozy and comfortable reading environment - and use reading time as an opportunity to bond and learn together And most importantly, have fun! The more fun you have reading with your child, the more likely they are to develop a love of reading that will last a lifetime. And if you’re looking for a program that can help your child learn to read and build early literacy skills – Check out Children Learning Reading – it’s a research-backed program that has helped thousands of children learn to read and succeed academically. Natalie 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’s 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’s not blogging.

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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. Some 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. Whether in cursive or print, the process of writing makes many demands on a student’s 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. Note: With all student writers, but especially the student who has difficulty with letter formation, it is very important to respect the student’s 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. Here are some strategies to develop and strengthen students’ ability to form legible letters. - 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. - 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. - Have students practice forming similar letters, such as l, j, t, etc. - 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’s autograph, etc. - 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. - Provide keyboards and word processing programs, teach keyboarding skills, utilize writing software. - 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. - Recognize that the computer may become a “survival tool” for students with handwriting difficulties. However, although a computer may increase the amount and legibility of a student’s work, by itself, it does not necessarily improve the content or quality of that work.

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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’s creativity in preschool sets the stage to foster its continued development in the years beyond. By the age of three, children have officially entered Piaget’s preoperational period, the hallmark of which is the ability to use symbols and representational thought (e.g., have one thing — like a word, drawing, or item) to represent something else (e.g., like the letters “horse,” 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 — purposefully drawing a monster or a flower. By the time they are 5, many children add details and annotate with words and narrated stories. With these newfound representational abilities, children’s 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—where children generate unique solutions and make new connections without being tied to “the” 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 — it is thinking, predicting, imagining, and creating. Try out some of these less standard ways to foster creativity in your child. Ways to foster Creativity: - 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, “What could happen if dogs could talk?” or “Would you rather have no nose, or no eyes, and why?” Accept any answer as “enough,” 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. - Provide an array of experiences to build your child’s foundation of knowledge (e.g., go to museums, visit libraries, and explore different neighborhoods in your town). - 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. “Paint” with glue, “sprinkle” glitter, add virtual leaves or “crumple” paper — click on the utensils CAP and you will see an incredible array of options! - Break the rules: Invite your child to do things differently. Some ideas to think about: - Instead of playing a board game by the rules, see if your child can make up her own! - Have a picnic in swimsuits in the winter. - See how many different uses your child can come up with for a paper clip or a paper towel roll. - 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). - Add salt to paint or beans to playdough. - Have your child create an alphabet with licorice strings, spaghetti noodles, or letter pasta. - 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 “fire” (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. - Provide a wide variety of open-ended tools: - animal figures - tool sets or doctor kits - dress up clothes (can be a towel that becomes a skirt!) - clay, play dough, pipe cleaners, paints, chalk, a variety of writing utensils, - 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. - For more virtual options, check out: - My Oats: A virtual spyrograph! For a more kid-friendly version, check out this site. - Simple “painting” interface. Click “animate” when your child is done, and let him see a movie of how he created his work of art! - GlowFree or Doodle Buddy or Paint Sparkles Draw apps: easy to navigate, and fun to create…yes! - Squiggles app: Simple playful app that encourages your child’s doodles to become something more. - 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. - Art Maker app: make simple slide shows, sticker books, movies, and books! - Invite your child to narrate her process, or what she creates! - Support “real” in a playful way: many children this age will ask you to draw or write for them, so it can look “right.” 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. - Make movement creative: Especially if you have a wiggly one, try out these creative moves: - Have her be the leader in Follow the Leader. - Have her show you how she’d move if she were sad, angry, or joyful. What about frigid or blistering? You’ll be fostering vocabulary and social development as well! - Have her choose an animal to move like. How can she get over the hill or across the river as that animal? - 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).

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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. Your writing is much more enjoyable when you use expressive literary techniques to paint a picture in the reader’s mind. One method you should use to do this is vivid verbs. But what are vivid verbs? In this article, we’ll explain what vivid verbs are and how to use them to make your writing more illustrative. What Are Vivid Verbs? A vivid verb is a descriptive verb that allows you to take your writing to another level. Vivid 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’s mind of what’s happening. Vivid verbs are often verbs accompanied by adverbs to be more descriptive. For example, instead of saying “think”, trying saying that you “envision” something! In creative writing, you may use vivid verbs to show what’s happening to a character both physically and mentally. It allows the reader to visualize the character’s actions better, bringing them deeper into the story. That 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’re using vivid verbs or linking vs action verbs. They’re great if you’re recounting a story to a friend, trying to be specific in describing a place, or explaining a particular item you may be looking for. The best way to explain what vivid verbs are is to show you. To further illustrate the power of these exciting verbs, let’s look at some vivid verbs in action. Examples of Vivid Verbs There are a variety of circumstances in which you can use vivid verbs to strengthen the imagery in your writing. We 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. Vivid Verb Example #1 - Jamie went on a run. While the above sentence gives us enough information to understand who is doing the action and what the action is, it doesn’t give us much more. However, if we switch out the common verb “run” for a vivid verb, we can get a lot more meaning out of the sentence. - In a panic, Jamie sprinted to save the baby stroller, rapidly rolling onto the street. This sentence gives us a lot more context into what’s happening. “Sprinting” 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 “rapidly rolling.” This sentence makes you wonder if Jamie saved the baby, which means you will keep reading. Vivid Verb Example #2 - Amanda pushed Alexis. The 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’s find out by replacing the commonly used verb. - Amid her rage, Amanda violently shoved Alexis into the bush. As you can see, Amanda’s actions were not friendly at all and were instead malicious, through the vivid verb “violently shoved.” You’d 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! Vivid Verb Example #3 - Jessica danced to the music. What 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. - Jessica gracefully twirled to classical music with her husband, Keith. The 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. More Tips for Using Vivid Verbs Now that you’re an expert on vivid verbs, you’re ready to use them more in your writing. No more using boring standard verbs like “wear“. However, there are a few additional elements to remember to ensure that you use these exciting verbs effectively. First of all, here are some common vivid verb examples you may want to consider using in your writing: Another 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’t mean you can overuse them. It’s great to be as descriptive as possible, but there’s such a thing as being too descriptive, especially when combined with a series of adjectives and adverbs. Take the following example: The bright yellow sun was intensely beaming and shining its rays over the calm, serene sea. There are a few things wrong with this sentence. First, although “intensely beaming” is a very vivid verb, two verbs are used in this sentence — “beaming” and “shining” — and these verbs are essentially synonyms. For simplicity’s sake, it’s better to use one verb or another. What’s more, this sentence is overrun with descriptive adjectives — “bright,” “yellow,” “calm,” and “serene.” While exceptionally descriptive, this is just too many adjectives for one sentence. It’s better to use less description and be concise rather than use too many adjectives and lose the meaning of your sentence. How To Make Creative Writing Verbs Try this two steps process - Write your message clearly. Don’t get fancy with it. Just write your sentence using regular weak verbs. - 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. Take 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’ll avoid repeating the same words over and over again! Passive verbs vs active verbs In active voice, the subject performs the action of the verb. - For example, “The girl kicked the ball.” In passive voice, the subject is acted upon by the verb. - For example, “The ball was kicked by the girl.” While 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’t the only type of verbs. You could also use a compound verb to improve your writing! Wrap-Up: Paint the World With Vivid Verbs Vivid verbs are valuable when you want to improve your descriptive writing. Hopefully, you’ve learned more than just what vivid verbs are and are ready to use them to kick your writing up a notch. Here’s 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.

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How to format an outline Rating: 8,7/10 110reviews A 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. There 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. Here are some examples of narrative outlines: - Introduce the main character and the setting of the story - Establish the conflict or problem that the main character will face II. Rising Action - Describe the events that lead up to the climax of the story - Develop the characters and their relationships - Introduce any subplots or secondary conflicts - Describe the turning point of the story - Reveal any important information or plot twists IV. Falling Action - Describe the events that follow the climax - Resolve any subplots or secondary conflicts - Show how the main character has changed or grown as a result of their experiences - Bring the story to a satisfying resolution - Reflect on the themes or lessons learned by the main character - Set the stage for the story, including the time and place - Introduce the main character and any other important characters - Establish the main conflict or problem that the story will explore Formatting In Your Outline (Microsoft Word) This 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. How to Format a Sermon Outline For 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. How To Write an Outline (Plus Template and Example) Your 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. Creating an Outline Simply 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… 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. How to Use the Document Outline in Google Docs However, 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. How to Make an Outline in Word When 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. How To Create an Effective Presentation Outline Division: 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. How to Write an Outline: Alphanumeric, Decimal, & Full Others 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. How to Write an Outline (with Pictures) There 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. Developing a Formal Outline — Hunter College For 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.

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The Creative Teaching-Learning Environment Basically 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. Before 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’s 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. Creative 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’s 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. To 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. I recently attended a workshop on “The Creative Classroom” 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’ 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 — problem solving, critical thinking, making connections between subjects — 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. While 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 “create,” “design,” “invent,” “imagine,” “suppose,” to your assignments. Adding instructions such as “Come up with as many solutions as possible” or “Be creative!” can increase creative performance. What I have noticed about the creative teachers is that they don’t 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.

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Definition of Motivation In literature, “motivation” is defined as a reason behind a character’s specific action or behavior. This type of behavior is characterized by the character’s own consent and willingness to do something. There 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. Characters 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. Examples of Motivation in Literature Example #1: Hamlet (By William Shakespeare) All 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’s 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. This becomes a motivation for Hamlet to justify his actions and exact revenge for “murder most foul,” 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’s soul to heaven. This motivation stops him from taking action. Example #2: Doctor Faustus (by Christopher Marlow) In 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 “overinflated and conceited” 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. Example #3: Lady Macbeth from “Macbeth” (by William Shakespeare) According to many literary critics about Shakespeare’s 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. Then, 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. Function of Motivation In 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’s actions. The core desires of characters lead the way to all actions in storytelling. Sometimes 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.

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Putting a Playful Spin on Literary Analysis High school teachers can incorporate elements of gamification into assignments to encourage students to dig deeper into texts. Literary 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. Students 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. Shape the Assignment’s Rigor Based on Student Needs For 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. For 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. Another 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’s 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. If 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. Students Can Use High- or Low-Tech Options to Create Their Game This 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. Using 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. Games Can Analyze the Literary Features of the Assigned Stories In 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 “The Masque of the Red Death” or “The Tell-Tale Heart.” 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. There 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 “The Masque of the Red Death” 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. Another group used coding and hyperlinks to create a game where the player navigated through the house in “The Tell-Tale Heart” and collected items in each room. Games Can Be Based on Students’ Original Narrative Stories Another 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. The 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’s story. Players chose different journeys for the hero, interactions with different characters, etc. The 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’ learning.

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What are preventative strategies? In 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. Are comics good for students? Comics 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. What is a social story in education? A 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’s meaningful and understandable to the child. They were invented in the 1990s by autism consultant Carol Gray. What is a stim? Repetitive 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. Are social stories ABA? Social 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). How do you promote appropriate student behavior in your classroom? Here are 8 techniques for dealing with behaviour. - 1) Be Consistent with Rules. - 2) Get the Students Full Attention Before Telling Them Anything. - 3) Use Positive Language and Body Language. - 4) Mutual Respect. - 5) Have Quality Lessons. - 6) Know Your Student. - 7) Be Able to Diagnose Learning Problems. - 8) Routine. What are examples of interventions? Some 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. What are three cognitive strategies? Cognitive 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. How are social stories used in the classroom? - Write the story from the perspective of the learner. - Use real pictures whenever possible. - Describe the positive behaviors that you want the learner to perform. - Read the story with your learner multiple times before they try it out for real. What is a social script? A social script is a document that uses storytelling techniques to explain new experiences and environments to autistic people through simple language and images. What are some behavioral strategies? Here are six safe and effective behavior management strategies for remaining calm and professional during challenging situations. - Be Mindful of Your Own Reaction. - Maintain Rational Detachment. - Be Attentive. - Use Positive Self-Talk. - Recognize Your Limits. How do I write a social story? Here are some tips on how to write a social story with visual supports. - Use Different Types of Sentences. Carol Gray developed the concept of social stories. - Prepare the Story. Pick the topic and prepare the story. - Add Pictures. - Create the Book. - Reading the Story. - After the Story. What is a social story ABA? Social 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 “Social Stories”. What are some positive behavior support strategies? 9 Examples of Positive Behavior Support & Interventions - Routines. Set clear routines for everything you would like students to do in your classroom. - Silent signals. Create silent signals to remind your students to pay attention and remain on task. - Quiet Corrections. - Give students a task. - Take a break. - Positive phrasing. - State the behavior you want to see.

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Celebrate Marie Curie’s Birthday by reading about her life and work! Born November 7, 1867 in Poland, Marie Curie was a pioneer of radioactive research. Curie 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. East Wenatchee Librarian Hanna has curated this reading list of books and one documentary found in our physical and digital collections: Radioactive : Marie & Pierre Curie, a Tale of Love & Fallout by Lauren Redniss Radioactive is the mesmerizing, landmark biography of Marie Curie, by acclaimed author and artist Lauren Redniss. Through brilliant storytelling, Redniss walks us through Curie’s life, which was marked by extraordinary scientific discovery and dramatic personal trauma—from her complex working and romantic relationship with Pierre Curie, to their discovery of two new scientific elements, to Pierre’s tragic death and Marie’s two Nobel Prizes. Half Life: A Novel by Jillian Cantor In 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’d made a different choice. The Soul of Genius: Marie Curie, Albert Einstein, and the Meeting that Changed the Course of Science by Jeffrey Orens Einstein 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’s world, no matter the cost. Marie Curie by Isabel Sanchez Vegara This 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. Marie Curie: A Quest For Light by Frances Andreasen Østerfel This graphic novel for middle grade readers presents a special collaboration between two internationally acclaimed Danish scientists: Frances Andreasen Østerfelt and Anja Cetti Andersen, and features delightful illustrations by the prize-winning Polish artist Anna Blaszczyk. Together they tell the story of Marie Curie’s exceptional life and groundbreaking research that changed the world, expanded scientific understanding and created new opportunities for women. Who was Marie Curie? by Megan Stine Born 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. Marie Curie: The Courage of Knowledge This 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.

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Exploring Local Heritage with Young People Storytelling through Objects Midland Actors Theatre has been exploring the use of objects in teaching history. This is their report. The key thing, in using objects, is to invoke their storytelling power. Objects can tell many tales - and are subject to different interpretations. In addition, they have the power to connect students to the history of other times – and to other people’s lives. The 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: “What does this object tell you about the social rank, status or class of the individual that used it?” (See the project website here.) We believe, however, that it is important to encourage students to look for the personal stories and lived experiences that may be invoked by objects. Take, 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: “They belonged to someone from the lower classes, who suffered poverty / need / hardship.” But an assessment on these lines itself objectifies people – i.e., it treats them as objects. (The "objects" of historical study.) In 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 “class.” In the case of the clogs, we drew on memoirs written by Kathleen Dayus, who grew up in Birmingham’s 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. We are also interested in the personal meaning and value which people invest in objects. With 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. We 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 – in terms of: personal things, that they could not bear to leave behind… or things that would remind them of home…? (Letters … photos … religious objects … etc.) We also asked the class to consider: how might they decorate the front room in their house in Birmingham, to make it feel more like “home” for them? (We used paintings and photos as reference.) We looked at some of the social rituals that would have been important to them – symbolised by objects such as the traditional salt cellar on the table. This 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 “What does this object tell you about the social rank of the individual that used it?”) Return to the Toolkit menu, or continue to the next page (Digital Storytelling).

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Posted: May 24th, 2015 Short viction story 2036HUM Writing Short You 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: “How To Write A Short Story (Without Inspiration)”. 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. The 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. You have a certain amount of freedon when it comes to your choice of subject matter and style but you should follow the University’s guidelines on non-discriminatory language. Those stories that contravene these guidelines will not be marked. 1 May 2015 How To Write A Short Story (Without Inspiration) What 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. First 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 — clarify what it is that you wish to explore. You don’t 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. The second beginntng is to begin with people, places, occurrences, tangibles — clarify what it is about this circumstance that has provoked your interest. You don’t 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. Once 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. How 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. Each of thcsc elements has a primary function and you need to be able to control that primary function. Clearly 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 úne 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 letång 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’t important, then it’s just a cup. Don’t complicate the description with that which isn’t necessary. The choice and selection of elements and the relations between elements are critical. At 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. This 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 descripåon, 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. Try 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. There 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. This 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. Place an order in 3 easy steps. Takes less than 5 mins.

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Today’s post includes excerpts from What’s the Story? Building Blocks for Fiction Writing, chapter three: “Setting.” Enjoy! Setting 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’t have a sense of setting, they’ll feel lost and confused (sometimes that might be the author’s intent). The Setting of a Story A setting can be big or small. It can be a made-up world—a massive galaxy with multiple star systems and inhabited planets—or it can be a single room—four walls and a ceiling. Settings 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. Some 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. Tone and mood are also affected by a story’s 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. It’s All About the Setting Some stories are all about the setting, meaning they’re quite literally about a particular time and place, even more than they’re 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. Some settings function as little more than backdrops—although even a backdrop is critical. These settings may require very little work on a storyteller’s part (because they’re 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’t even notice them. Others are so distinct and active that they function as characters within a story. The 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’s 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. It can be exciting for readers to discover a place they’re familiar with in a fictional story. Michael Connelly’s 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. Establishing the Setting of a Story Settings 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—they want to know what’s happening. While 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’s natural to the story. For 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’s 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’s set in the future. Tips for Designing a Vivid Setting - It’s all in the details. Details make a setting pop. Climate, geography, architecture, and culture make a setting realistic. - 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. - 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. - 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’re writing historical fiction, and use history as a trajectory when you’re writing about the future. - 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. - 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? - 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. - Props are the everyday items that characters encounter in a story’s 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’s mind, especially in speculative fiction. - World building. If you’re building a world from scratch, keep the facts and details consistent. Readers will notice if the rules of the world are incongruous. If you’re writing an epic story or a series, keep track of the details of your world in a story bible. To learn more about developing the setting of a story, pick up a copy of What’s the Story? Building Blocks for Fiction Writing. The post Fiction Writing: The Setting of a Story first appeared on Writing Forward. Go to Source Author: Melissa Donovan

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Your story’s setting–the geography, city/town, culture, beliefs, traditions, etc.–is 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. So what does it mean to make setting its own character? How do you make something a character when it’s not a person? Like characters, your setting has its own personality, traits, and backstory. These are what make it character-like. Where do you start? As you begin framing your setting as something with a personality and backstory–and not just a place with some buildings and weather–ask yourself some of these questions. - What’s the backstory of this location? - Are there distinct eras in this setting’s history? What are they? Why are they important? - What moments from history have impacted the setting’s culture? And in what way have those moments impacted the culture? - What’s the current culture, the ones your characters exist within, in your setting? - What expectations does society have around things like education, occupation, and family life? Thinking about the average person As important as your main characters are in your story, think about the average person living in this setting and how it impacts their life. - What kinds of jobs are available? - 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? - What beliefs does the average person hold? - These might be religious, political, & so forth. - What does day-to-day life look like for the various tertiary characters in your story? - What common threads run through the average population’s story? Do they have common experiences and interests? - For example, we all have our own stories from 2020’s 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. Knowing how the setting impacts the average person will help you weave these kinds of details into your story, and it’ll also inform potential obstacles your characters face in some way. How does setting impact story? it’s great to know all of this information for the purpose of worldbuilding, but setting isn’t 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. - Who has power in this world? - How did they obtain it? - Is this power religious? Political? Economic? Some combination? - What are the socio-economic stratifications in society? How does your main character fit into this? - Is your main character fighting against this big power structure? For it? Simply existing around it? - For example, if your character simply exists around the power structure, they probably don’t interact with these ‘power players’ much. Their story might hinge on some other type of power or problem. - Does your character want some kind of power for themselves? Beyond power, other elements of your story can create conflict for your characters and obstacles for them to overcome. - How do the weather and seasons impact daily life? - How does your character’s socio-economic status influence how they interact with the world/how the world interacts with them? - Does it create any specific problems? For example, a princess will have different problems than a chef. - What faux pas could your main character commit that leads to some kind of misunderstanding or issue? - Are there other unspoken rules and expectations your character breaks? - How strict are the laws and regulations in society? Does your main character have to break one to continue on their journey? - If they do have to break some law, does this put them in danger with the authorities? Everything comes back to your characters When you’re 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. Need a writing exercise? As you continue working on your worldbuilding, you might find you’re still struggling to nail down some of these details. If that’s the case, don’t worry! The writing exercise below should help. Imagine your friend is visiting your fictional world for the very first time. Surprise–you’re their tour guide! - What landmarks do you show them? - How do you explain the political and economic systems? - What clothes would you have them wear during the summer to blend in? The winter? - What ‘day-in-the-life’ activities would you have them do to get a taste of your world’s life? - Think about food next; what food would you have them try? - What details in this fictional world would engage their five senses? How would these details make or break their visit? - For example, do you take them by the fish market at the docks on a summer day? That probably wouldn’t smell great and could be a negative factor on this tour. Need help with your project? Learn more about my editing and coaching services. If you found this post helpful, consider sharing it on Pinterest!

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What is a comma splice? Most 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. Here’s an example of a comma splice: A period is stronger than a semicolon, a semicolon is stronger than a comma. The result is a type of run-on sentence,† 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—for example, by replacing the comma with either a semicolon or a period or by supplying a coordinating conjunction: A period is stronger than a semicolon; a semicolon is stronger than a comma. A period is stronger than a semicolon. A semicolon is stronger than a comma. A period is stronger than a semicolon, and a semicolon is stronger than a comma. In most prose, creative or otherwise, any of these alternatives will be an improvement over the comma splice. Is a comma splice ever “correct”? Even 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: A comma splice isn’t an error, it’s an option. A comma splice isn’t an error; it’s an option. A comma splice isn’t an error. It’s an option. A comma splice isn’t an error—it’s an option. A comma splice isn’t an error (it’s an option). A comma splice isn’t an error, so it’s an option. Each 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. Which alternative you choose will depend on context and tone. OK, but what about fiction? In fiction, comma splices are less of a big deal. The classic example is from A Tale of Two Cities, by Charles Dickens: It 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—in 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. An overzealous editor would’ve fixed all of that (while also removing the comma before “that”) without another thought: It 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 . . . To be fair, the punctuation in the rest of the novel is more conventional; in fact, it’s 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. Comma 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’s novel To the Lighthouse (first published in 1927): What 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. Another question mark in place of a comma—“What does it mean then? What can it all mean?”—might 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). In creative writing, of course, you can do whatever you want . . . right? Not 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 José Saramago that was first published in 1995 in Portuguese and then translated into English by Giovanni Pontiero and published in 1997: The 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. An editor might have fixed that fourth sentence as follows: 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. OK, but in Saramago’s 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’s a little more complicated than that—for example, there are no quotation marks, and speakers are introduced midsentence with nothing more than a comma and an initial capital.) This absence of the usual signposts—and especially the lack of periods that might tell us when one sentence has ended and another begun—is disorienting. But in this novel, in which an unnamed city experiences an epidemic of blindness, and once-familiar surroundings must be relearned, Saramago’s style makes sense.‡ Again, 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’ve succeeded. * To splice (not to be confused with slice) is to combine or unite; it also has a slangy sense denoting marriage. † But: “Some grammarians distinguish between a ‘run-on sentence’ (or ‘fused sentence’) [no punctuation] and a ‘comma splice’ (or ‘run-together sentence’).” See Garner’s 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. ‡ Or at least it made sense to me, years ago, when I last read the book. Saramago’s comma splices aren’t for everyone. Photo by Marco Verch (adapted for post), licensed under CC BY 2.0. Fiction+ 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. ~ ~ ~ Russell 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’s A Manual for Writers of Research Papers, Theses, and Dissertations. The Chicago Manual of Style, 17th edition Order the book Please see our commenting policy. 3 thoughts on “Comma Splices and Run-On Sentences” As 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! The use of the commas in the Saramago fourth sentence makes the “however” ambiguous. I had to read it several times. I’ve always thought American English touchier about this than British English. Comments are closed.

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History is the study of history. Events prior to the invention of written records are often regarded as prehistoric. “historic” is a much more precise term, including all subsequent human events, the written record, and the historical record. “The history of history” includes all human societies, all cultures, all time periods, all types of human activities, and all places. Early 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. The term “historian” 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. Historically, 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. Both 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. While 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.

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Learning Language Arts Through Literature Learning 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. Sing, Spell, Read & Write Sing, 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. Explode The Code Explode 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—Get Ready for The Code, Get Set for The Code, and Go for The Code—which 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. A Reason For® Handwriting A Reason For® 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. “Border Sheets” encourage students to share God's Word with others. You'll find product information about A Reason For® Handwriting here. Montessori 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. Writing Strands & Reading Strands This 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’s lifetime. As an Amazon Associate, we earn from qualifying purchases. We get commissions for purchases made through links on this site. Pattern Blocks and Boards This 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. Cognitive Styles and Learning Strategies: Understanding Style Differences in Learning and Behaviour First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company. Recovering the Lost Tools of Learning: An Approach to Distinctively Christian Education Author 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. Don't Waste Your Time Homeschooling: 72 Things I Wish I'd Known Traci 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. Responsible Driving, Student Edition This 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.

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3 Tips for a Calmer Classroom When it comes to your classroom community, the issues that cause the most disruption often boil down to one issue: students’ 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. Elementary students aren’t 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. Create structure and guidelines. It’s 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’ve set out. Have 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, “We shouldn’t forget that learning is about the fun of it all!” Use 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’s 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 “Managing Impulsivity” 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 “Stop yelling out!” you can say “How did Chris feel when he managing his impulsivity?” Learn more at www.habitsofmindkids.com!

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http://www.schrockguide.net/information-literacy.htmlRelated: Curriculum and Elementary Lesson Plans for Library Media • Digital Literacy • Library P Exploring 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. November 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 Story 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’s 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. Books 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. Harriet 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–not at its core necessarily, but certainly at its edges as it expands to include new kinds of “reading.” Digital media is quickly replacing traditional media forms as those most accessible to most 21st century learners. Books 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. The 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.

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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’s life. Plot – Holes In 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 “character”. 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 – 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. Holes? Yes, all the boys in the detention center dig holes all day long. Not any ordinary holes – 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’t take him long to realize that there is more to making the boys dig holes. Search for treasure. With 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’s when Stanely takes the matters into his hands… Click HERE to find out more about Stanley and his struggle. Setting in Holes The 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 – perfect to build vocabulary, describe the setting and mood. Themes in Holes Louis Sachar teaches the theme of friendship, perseverance, compassion, and the impact of fate on one’s life. As we read the story of Stanley’s hardships, we feel empathetic towards him. But as soon as he takes the matters into his hands, things change for him. Literary Devices in Holes Louis Sachar makes effective use of symbolism, flashbacks, and irony in the story. The title ‘Holes’ 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. Vocabulary in Holes The 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. Holes By Louis Sachar – Book and Movie Adaptation Once you watch the movie adaptation of Holes, you’d 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. Holes By Louis Sachar – Teaching Resources & Activities Here I am sharing some teaching resources and activities for you to try in your classroom. - Watch the movie after finishing the story and have students use Comparison Charts as or after they watch the movie adaptation of Holes. - 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’t disappoint you and your students. - These setting, vocabulary, and creative writing activities are just perfect to use throughout the unit. These are perfect for printing and distance learning – the Google Slides version is my favorite. - These vocabulary cards can easily be printed and laminated for literacy stations or group activities. You won’t have to instruct your students to make the vocabulary column or write down the definitions again. Here is a FREE lesson plan for you to teach setting in Holes. Enjoy teaching this novel and if you do use one of the resources above, do comment below and let me know how it went.

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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’s landmark ideas. The 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. For many mathematicians and scientists, life is about solving puzzles. Much 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. You 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. There is a further book reading component to the course…a 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. At 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. This 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 – 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? The 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 “should” 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. We 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 – for example 2022 = 2 × 3 × 337. This is merely the beginning of a long story in which mathematicians working in the area of ‘Number theory’ have been unravelling the properties of prime numbers for thousands of years and yet the story is far from over –many questions about prime numbers remain unsolved! Determining 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’s 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 (‘PRIMES is in P’) which subsequently appeared in the Annals of Mathematics in 2004. The objective of this foundation course is to understand the Agarwal–Kayal–Saxena 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. Rempe-Gillen, Lasse and Waldecker, Rebecca, Primality Testing for Beginners, Student Mathematical Library Vol. 70, American Mathematical Society, Providence, RI (2014). Agrawal, Manindra and Kayal, Neeraj and Saxena, Nitin, PRIMES is in P, Ann. of Math. Vol. 60(2), 781-793 (2004). Bornemann, Folkmar, PRIMES is in P: a breakthrough for “Everyman”, Notices of the AMS, Vol. 50(5), 545–552 (2003). Robinson, Sara, New Method Said to Solve Key Problem In Math, New York Times, Section A, Page 20, August 8, 2002. Faculty Name: Ravindra B Bapat Department: Mathematics | Semester: Monsoon 2022 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’s landmark ideas. The 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. If you have not done serious mathematics in school or if you are scared to take a mathematics course don’t worry. You will learn it with others who will give you a helping hand. This 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 “computer literate”. We 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. Note: Even if you have prior exposure to programming, this course may have something new to offer – especially on computational thinking. In 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 “Mathematical” thinking is really a thing as opposed to just thinking! Along the way we will pass through the following turns:

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Religious Education Intent We 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 Religious Education Implementation and Impact We 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. For further information about the syllabus please see: https://www.lbhf.gov.uk/sites/default/files/section_attachments/sacre_re_syllabus_final.pdf In Nursery and Reception, children engage with festivals reflecting the beliefs of their current cohort. In years 1 and 2, children learn about concepts that are common to all people – special, remembering, belonging, storytelling, celebration and authority - through Christianity, Islam, Buddhism and Hinduism. In years 3 and 4, children learn about concepts that are shared by many – holy, God, ritual, worship, community and symbol - through the lens of Christianity, Judaism, Humanism and Sikhism. In year 5, children learn about concepts that are shared by many religions – wisdom, justice and pilgrimage - through the Christianity, Judaism, Sikhism, Islam, Buddhism, Hinduism and Humanism. In year 6, children learn about concepts that are distinctive to particular religions: Christianity (sacrifice), Judaism (freedom), Sikhism (sewa), Islam (khalifah), Buddhism (dukkha) and Hinduism (devotion), with some comparisons to Humanism and other worldviews. Children learn the religious knowledge through concepts using enquiry skills. Lessons are planned using this sequence in each unit: The syllabus is consistent with the United Nations Convention on the Rights of the Child and supports our school’s work on rights respecting education (RRE): - Communicate and Enquire: Article 12: respect for the views of the child. - Apply: Article 13: freedom of expression. - Evaluate: Article 14: freedom of thought, belief and religion. - Contextualise: Article 30: children from minority or indigenous groups. Our 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. Lessons 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. Pupils' 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. The 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. Our 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. Progression of skills and knowledge Our ‘RE subject progression of skills and knowledge ‘ document gives further information about what the children are taught in this subject by year group. RE progression of skills and knowledge We use the London Borough of Hammersmith and Fulham’s Religious Education Agreed Syllabus (AS) this has been modified and adapted for use in Hammersmith & Fulham Schools. 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. For further information about the syllabus please see below: Living difference 3 - Hammersmith and Fulham Agreed Syllabus

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Genre and the Forms of Writing Writing 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 — 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. When 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. Clearly, 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. When 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. Bear 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. Video: "What is a Genre?": A Literary Guide for English Students and Teachers In this video, Professor Ehren Pflugfelder explains how genres consist of common and recurring features that help audiences know what to expect. Video: What Is [a movie] Genre? Still 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. Genres Apply to All Forms of Communication When 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. Hence, 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. Composition as Choice When 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. Genres are the categories of communication. Genre Conventions are the "rules" and expectations of a genre. Audience Expectations often depend upon the genre conventions. We expect writers and speakers to follow the "rules" of their chosen medium. Composition describes the entire process of composing our thoughts into coherent words, images, or other forms of communication. Authors are the individuals who are producing a specific instance of communicate. Purpose is the reason we communicate a specific piece of information. Audience includes all the people who read, hear, or see our communication. We can have intended and unintended audiences. Genre Example: Text Messages When 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. How We Study Genres in the Classroom Rhetorical Genre Studies (RGS) Genre 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. Academic Readings on Rhetorical Genre Studies Genre: 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: "Key Concepts in Rhetorical Genre Studies: An Overview" by Natasha Artemeva Cultural-Historical Activity Theory (CHAT) Every 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. Social Expectations and Resources that Affect Texts: - Ecology: the physical tools and surroundings at every stage of the process. - Activity: the social habits and activities and writer engages in as part of production. - Representation: how people perceive the genres of communication, particularly their expectations of the conventions. - Production: the physical act of producing the communication. - Distribution: the physical means of disseminating communication to various audiences. - Reception: what audiences think of a specific act of communication. - Socialization: how a specific act of communication influences the perceptions or behaviors of audience members. Video: Engeström's Activity Theory by Margaux De Vos An 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. Academic Readings on CHAT Cultural-Historical Activity Theory: Exploring a Theory to Inform Practice and Research, by Kirsten Foot. As Foot explains, humans work and communicate collectively — and CHAT offers a framework for relating social activity to communication. Let's CHAT: Cultural Historical Activity Theory in the Creative Writing Classroom, by David Disarro. Researching Contradictions: Cultural Historical Activity Theory Research (CHAT) in the English Classroom by Ian Thompson. "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.

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Fun Hands-On Kindergarten Telling Time Activities for Kids Learning 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. Make a Giant Clock Get 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. Create an Events Clock Help 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!" Do a Countdown Help 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. Morning to Night Part 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. Maria 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.

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Dutch physicists have just taken the first steps towards making a “quantum brain” by building a material that stores and processes information in a similar way to the human brain. In 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 – using nodes that act like artificial neurons, transmitting signals through synapse-like connections. But instead of just creating software to process information in a similar way to a brain, what if we built hardware that actually mimics neurons? Researchers from Radboud University in the Netherlands have been working on this kind of hardware, called neuromorphic architecture. Specifically, they’ve been building an intelligent and dynamic material that can learn by physically adapting itself – so it has brain-like plasticity. To do this, they first learned how to store information in single atoms: the ultimate in high-density information storage. In 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 “firing”. Now 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. These ensembles of atoms were even observed to have an inherent adaptive property – the synapses changed behaviour based on their surroundings. “When stimulating the material over a longer period of time with a certain voltage, we were very surprised to see that the synapses actually changed,” says lead scientist Alexander Khajetoorians. “The material adapted its reaction based on the external stimuli that it received. It learned by itself.” This 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. “It is clear that we have to find new strategies to store and process information in an energy-efficient way,” says Khajetoorians. “This requires not only improvements to technology, but also fundamental research in game-changing approaches. Our new idea of building a ‘quantum brain’ based on the quantum properties of materials could be the basis for a future solution for applications in artificial intelligence.” Next, the Radboud team will scale the system up even further – and attempt to understand why the system actually displays these interesting behaviours. “If 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’s computers,” says Khajetoorians. “Yet, only when we understand how it works – and that is still a mystery – will we be able to tune its behaviour and start developing it into a technology.” Originally published by Cosmos as Quantum brainiac Lauren 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. Read science facts, not fiction... There’s 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.

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As You Read To 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. Ki-pat, whose cows were so hungry and dry, They mooed for the rain to fall from the sky; To green-up the grass, all brown and dead, That needed the rain from the cloud overhead — The big, black cloud, all heavy with rain, That shadowed the ground on Kapiti Plain. Guided Reading Questions - What kinds of animals live on Kapiti Plain? - Which animals are wild and which kind is domesticated? (The cattle) - 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) - How does the plain change after the rains come? Personal Response Questions Use the following questions to help your students make personal connections to the story: - How do you feel when your hometown needs rain and a raincloud above just won't burst open? - 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?) - Why is an eagle — unlike, say, a chicken or a robin — a good symbol for rain? (Eagles are powerful, and fly high in the sky where the rainclouds are.) - What story do you think Ki-pat tells his son about how to bring rain to Kapiti Plain? Extending Geography Skills: The Climate of Our Region Step 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.) Step 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. Step 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. Science: Keeping Weather Records Step 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. Step 2: Invite interested students to write and share a Weather Log to trace Ki-pat's experience. |Grass is||Cattle are||No rain yet.| |getting brown.||thirsty. Cloud||Wild animals| |Sun is hot.||but no rain.||are leaving.| Listening and Science: Being a Raindrop Step 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. You are a tiny speck of dust, stuck on a leaf on a tree on the Kapiti Plain. Everything around you is dry — the land, the plants, the holes that used to be filled with water. You can hear the cattle mooing for water. Here 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. Wow! 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. Ouch! 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. Literature and Creative Writing: Comparing Story Heroes Step 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. Step 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. Step 3: Invite interested students to write their own stories about heroes, referring to the “alike” column for ideas. Encourage students to think of real-life people they know or have heard about who are like the heroes in stories.

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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. The 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. Have 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. Create a Pond Find 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. Take 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. About the Author Stacy 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. by the pond image by Quennie Chua from Fotolia.com

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Unreal Engine is the world’s 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’s 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. Join 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.— Steve Isaacs #TCEA (@mr_isaacs) January 30, 2023 Get here early. Free t-shirts for first two rows! pic.twitter.com/Q2BiDEYGGl What Age Group is Unreal Engine Aimed At? The appropriate age group for using Unreal Engine in the classroom depends on the complexity of the projects and the students’ 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. This is by Epic Games, is that Fortnite? Fortnite 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. The 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. What Types of Free Resources does Unreal Engine Provide for Teachers? Unreal Engine provides a variety of free resources for teachers, including: - 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. - 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. - 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. - 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. - 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. Overall, 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. Can Unreal Engine be Used in a Math Classroom? Unreal 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. How About for English Teachers? Unreal Engine can be used in the English classroom in several ways, including: - 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’s scripting language, Blueprints, to control their behavior and interactions. - 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. - 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. - 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. Overall, 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. 5 Google Search Techniques to Try Today Unlock 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’t miss these valuable tips for mastering the art of searching! 10 Hidden Google Jamboard Gems Google 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’s so much more to discover. Explore 10 lesser-known features that will help you unlock the full potential of Google Jamboard. Gamified Choice Boards Choice 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. The ChatGPT Effect: Art Projects as the Key to Student Adaptation How 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. Magically Create Refrigerator Poetry in Google Slides Alice 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. 100 Prompts for Teachers to Ask ChatGPT Using 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 1 thought on “What the Heck is Unreal Engine?” You must log in to post a comment.

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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. One 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. The 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. In 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. Overall, 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. The 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. What is PEEL Writing? Tips & Trick to write a PEEL paragraph Some 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. Wheldon 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. Stop 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. These 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. The 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. Make 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. At 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. Our 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—Dufferin ridings. Depart from a group, as in Ruth peeled off from the pack of runners and went down a back road.

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¡Feliz viernes a todos! To 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’d 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 “Sobre Octubre” post, the myth of La Llorona can serve as a means of understanding story, history, and memory. Her’s 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. So, 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’s 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. The 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’ 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. Using 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 Día de los Muertos! With warmest wishes, Image: Photo of “La Llorona” Signs. Reprinted from Flickr user baldiri under CC ©.

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Easter Bunnies Coloring Pages Printable The best ways to promote creative writing You 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. - 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. - 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. - Give your child the option of dictation. Instead of editing, be a writer. Use the language your child would use. - 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. - If your child becomes confused, ask questions. You can learn more about the tale by asking the right questions. - 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. - Be supportive of all forms of writing. Comic books, drawings, plays, songs, riddles, poems, and jokes. - 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. Reasons why students should share their writing Students 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. Students receive automatic feedback when they share their writing. Whichever method you choose to use for sharing comments, will develop the student's writing. Students' 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. Why it's important to write by hand? An 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. Children who can write well are more likely to spell and comprehend well. Additionally, it enhances knowledge retention and memory. Furthermore, having good handwriting is necessary for many duties later in life, including writing greeting cards, completing forms, and signing important papers. Cute Easter Coloring Pages Easter Bunny Paper Dolls Printable Printable Easter Bunny Bunting Printable Easter Garland Printable Easter Bunnies Coloring Pages for Kids Easter Bunny Coloring Pages Printable A Guide on How to Create Story with Children For 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. - 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. - Create a location and a character. Get your child to develop a character and a scenario. - 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. - 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. - 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. - 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. - The ending. The best approach to wrapping up a story is with a satisfactory ending, so it is important to create a great ending. The advantages of children telling their own stories You can ensure that your children receive advantages like the following by letting them share stories: - 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. - 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. - 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. - 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. More printable images tagged with:

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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. One 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. Another 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. The 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. Finally, 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. In 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. Imaginative 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. One 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. Another 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. Imaginative 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. In 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.

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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. - I wanna tell you a story Learners 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. - The teacher news Talk 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. - Playing with genre The 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. - One wrong detail Tell an entirely true story with one big lie in it. At the end students have to guess what was wrong. - Backwards forwards Tell 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 – and make sure no-one takes notes. - Students tell the teacher's story Divide 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 – but as if they were you – 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. - 10Currently reading Skills: teaching English using anecdotes No comments yet

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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’s History Refocused) Recognizing the contributions of girls of color International Women’s Day and Women’s 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’ leadership, safety, and joy, and work to ensure that the historical role that girls of color have played in advancing women’s rights are memorialized and acknowledged. Throughout 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. Nine 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’s memory of that day remains vivid. “People said I was crazy,” she recently recalled, “because I was 15 years old and defiant, and shouting ‘it’s my constitutional right!’” She was handcuffed and thrown in jail, and you can hear Claudette’s recollections in this video. Another 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. Claudette and Sylvia’s 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. Throughout 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 “defiance.” 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 “defiant,” “crazy,” and worse, because they are the same girls who are bold enough to dream a better future for us all. Monique W. Morris, Ed.D. Grantmakers for Girls of Color — — — Celebrate Black Girl Freedom Week with these links! Did you miss any of the uplifting conversations and celebrations during our very first Black Girl Freedom Week in February? Don’t worry, we’ve 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. We 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! — — — Get to know our amazing grantees, and their important mission We 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: - 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. - 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. We 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. — — — Red Nose Day is coming! Mark 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. The 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!

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What is Visible Thinking? - Having students externalize their thoughts through speaking, writing, drawing or other methods The Ted Talk below goes into more detail about visible thinking, why it is important, and some ways to incorporate it into the classroom. Now, let’s go into more detail about 3 specific strategies that can be used in the science classroom! 1. Step Inside - This strategy can be used to help students “get inside” another person, or thing in history, or current events. - Students hypothesize what they think the person, or thing was/is thinking, or how they perceive the world around them. - Students are asked questions such as… “What might this person/thing care about or wish would happen?” “What might this person/thing believe?” or “What can this person see or notice?” 2. What Makes You Say That? - This strategy encourages students to voice their reasoning for how they are thinking. - Students are also encouraged to accept and explore alternative explanations to why others are thinking the way they are. - Students are presented with the questions of “What’s going on?” and “What do you see that makes you say that?” 3. I used to think… Now I think… - 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. - 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. - 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. - 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. Hi 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? I 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’t have to feel embarrassed when it comes to sharing answers. Hi Shelby! This was a great post! I really like the what makes you say that strategy! It’s so useful and can be so effective in a classroom. But, I’m 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! You 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. Great post Shelby! The part that I enjoyed the most was the “step inside” 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’m just reading too much into it! Let me know! Having 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.

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‘The Yellow Wallpaper’ is centred in the writer’s 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 In the “Yellow Wallpaper” 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. “The Yellow Wallpaper” is a short story about a woman who has a mental illness but cannot heal due to her husband’s 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’s thumb in society during this period which is approximately the 19th century. The "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. “The Yellow Wallpaper”, 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 “nervous condition” diagnosed by the writer’s husband, a physician, who believes the only cure is prohibiting all intellectual thought and to remain in solitude for a “rest-cure”. The act of confinement propels the narrator into an internal spiral of defiance against patriarchal discourse. Through characterization and symbolism, “The Yellow Wallpaper” exhibits an inventive parallel between the narrator’s mental deterioration and her internal struggle to break free from female oppression imposed on her through her husband and society. The 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 "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. IIn the story, “The Yellow Wallpaper”, the narrator’s husband has rented an old mansion in the country for the summer. John is relying on this vacation as the time for his wife’s 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’s controlling husband and the deterioration of her mind, she inevitably snaps and becomes completely delusional. In “The Yellow wallpaper”, the wallpaper is a metaphor that expresses women’s 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’s so called therapeutic treatment ‘rest cure’ 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 ‘the yellow wallpaper’. The 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 It is difficult to discuss the meaning in this story without first examining the author’s own personal experience. “The Yellow Wallpaper” gives an account of a woman driven to madness as a result of the In 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. "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. In January of 1982 Charlotte Perkins published “The Yellow Wallpaper”. This story was written based mainly on feminism, and how men controlled women during that time. Perkins was very active in women’s 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 “rest cure” 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, “She 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” (USA Today1.) In Perkin’s 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’s world. The 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. Throughout 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

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English language and literature form the backbone of any GCSE education. Students 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. In year 7, year 8 and year 9, we prepare students for the AQA English Language and English Literature GCSE course. KS3 English Literature The skills being assessed are as follows: - Assessment Objective 1 Critical analysis of texts, using quotations to support ideas. - Assessment Objective 2 Analyse writer’s methods using subject terminology. - Assessment Objective 3 Explore contextual information and make links between text and task. - Assessment Objective 4 Spelling, punctuation and grammar. Texts to be studied in year 7 are: - Romeo and Juliet - Charles Dickens - Myths and Legends They will also be working on a piece of creative writing. Texts to be studied in year 8 are: - The Hunger Games - Animal Farm They will again be working on a piece of creative writing. KS4 English Literature This 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. - To analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate - Show understanding of the relationships between texts and the contexts in which they were written - Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation As 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. Further career opportunities include: - Linguistic forensics The course is 100% examination and consists of: - Paper 1 – 1 hour 45 minutes: Shakespeare and 19th Century novel - Paper 2 – 2 hours 15 minutes: Modern texts and Poetry Texts covered: Macbeth, A Christmas Carol, An Inspector Calls

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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 – sentence structure, mode, word choice, and paragraphing – 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 – 8 are exposed not only to plays and middle grade literature, but also graphic novels, epics, short stories, and poetry. In 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. Readings may include: D’Aulaires 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. In 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’ 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. Readings may include New Kid, The Giver, The Devil’s Arithmetic, and numerous short stories and poems. In 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. Readings may include Animal Farm, Julius Caesar, Raisin in the Sun, and numerous short stories and poems.

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What Are the Three Main Types of Microscopes? You 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 “one size fits all” 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. Compound: The Old Standby The 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’s stage and choose one of the objective lenses – 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. What to Use for Larger Objects The stereoscopic microscope is useful when looking at objects that won’t 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. Looking at Objects in 3D Electron 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’s 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. While not one of the main three types of microscopes, the confocal laser scanning fluorescence microscope, often just called a “confocal microscope,” is another type of tool with useful applications. This microscope lets you look at “slices” 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. Cara 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.

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Therapy Masters Singapore Supporting your Child’s Speech and Language Development through Play Activities! Play has been often defined as “the work of children” 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’s speech, language and communication skills development. Play can be categorized according to the stages of development. Parten’s six stages of play 1. Unoccupied play Child does not play Stands in a one spot just observing others 2. Solitary/Independent play Child is playing alone Focus only on what he/she is doing. Unaware of their surroundings More common in younger children of birth to age 2 3. Onlooker play Child watches others play but does not engage Occasional conversation about the playing occurs, but without joining the activity More common in younger children, particularly those age 2 4. Parallel play Child is playing side by side with others but separately Child will not interact with others This is a transitory stage to more mature play stage More common in children of age 2+ 5. Associative play Child is more interested in the people playing instead of the activity or the object involved in the play Child will interact with others, but activities are not synchronized. Can be seen in children of age 3 to 4 6. Cooperative play Child is interested both in other players and in the activity. Play with the rules and structure. This type of play uncommon in preschool age children. It needs more maturity and more advanced organizing skills. Mostly appear after the age of 4 Regardless 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’s speech and language development through play. Since play is an important part of your child’s 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 “It Takes Two to Talk: A Practical Guide for Parents of Children with Language Delays” suggest some strategies to follow while playing with the child to facilitate the language development. Follow the child’s lead: Every 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. Practice turn taking: Turn 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’s response and asking questions. Be a model and an expander: This 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’s current language level. For example: If the child says “fish” you can say “blue fish”/ “swim fish swim”. If the child says “he swimed” you can say “yes he swam away”. If the kid says “it’s a beautiful dress” you can say “yes it’s a pretty dress” Being silent and playing along nonverbally with the kid will not be enough. You have to actively engage with the child’s play to provide him with good language input. Singing is always a fun activity. Singing can facilitate your child’s 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 “ba ba black sheep”. You and your child can make up songs. Adding actions to songs will also benefit other areas of development in your child. “Singing 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” 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 It 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 “wh” questions from the book like “why does the bunny sleep under the tree”, “what type of a tree was it,” 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’s higher language functions. Allow opportunities for repetition. Repeat, repeat and repeat….. 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. This is how you can facilitate your kid’s 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. Just giving 15 minutes a day from your time can really make a difference to your child’s speech and language development. So, make sure to give your child a special play time with you every day. Source: Parten MB Social Participation among Preschool Children. Journal of Abnormal and Social Psychology. 1932; 27 (3): 243–269. Speech and Language Therapist

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Fun Story Sequencing Activities for Older Students 26 SEP 2017 Story 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. 1 Sequencing Across Literature Story 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. 2 Find the Transition Sequencing 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. 3 Journals With Characters on the Side Another 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. 4 Role Playing in Sequence Role 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. - 1 Reading Rockets: Story Sequence - 2 Saskatoon Public Schools: Instructional Strategies Online: What Is Story Mapping? - 3 ReadWriteThink: Looking for the Byronic Hero Using Twilight's Edward Cullen - 4 Study Guides and Strategies: Transitional Words & Phrases - 5 Saskatoon Public Schools: Instructional Strategies Online: What Is a Response Journal? - 6 Eduplace.com: Strategies to Support Multicultural Instruction, Role-Playing

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Using textual evidence In 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. I'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! The 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. We 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. I 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. I 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. If 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!

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Citizen Science for Understanding Berries in a Changing North Winterberry 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. In 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. - Demand for continuation of the program by educators and Tribal organizations - Museum of the North Berry Month - Total of 32 communities involved, 1500 volunteers and 17,000 observations - Mulder, C.P.H., Spellman, K.V,, Shaw, J. 2021. Berries in Winter: A natural history of fruit tentiona in four species across Alaska. Madroño 68(4): 487-510. DOI:10.3120/0024-9637-68.4.487 - 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 Will 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? We 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. New directions in Berry science - Gather information needs and concerns of communities - Identify datasets available on berries across the state - Identify gaps in science and future science - Tightly align our science to the climate adaptation needs of our communities Dr. Katie Spellman: firstname.lastname@example.org Dr. Christa Mulder: email@example.com Dr. Elena Sparrow: firstname.lastname@example.org

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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’ writing. Classroom libraries and online articles offer students the opportunity to read for pleasure while building their comprehension skills. Eighth 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: • formulating and reasoning about expressions and equations and solving linear equations and systems of linear equations, • grasping the concept of a function and using functions to describe quantitative relationships, and • analyzing two- and three-dimensional space and figures using distance, angle, similarity, and congruence, and understanding and applying the Pythagorean Theorem. Eighth 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’s 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. Eighth 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. The 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.

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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. Following are the most important reasons why children should learn to code: 1. 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. 2. 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. 3. 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. 4. 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’s brain will get stronger as well as more adaptable. 5. 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. 6. 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. 7. 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. 8. 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. 9. 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. 10. 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. Hence, 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.

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eScout Academy - Build Games and Science experiments, Winter Session This program is currently unavailable. Click here to view all of our current programs. eScout 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". Courses 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. Animation and Develop Games - Level 1, Grade 2 -3 Introduce 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. Animation and Develop Games - Level 2, Grade 3 -4 Introduction, 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 Animation and Develop Games - Level 3, Grade 3 -4 Introduction, 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. Develop Games "Minecraft" Level 1, Grade 3-4 Intro 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’s Rings: Focusing on learning the concepts of Booleans how they work in conditional settings. Unplugged Activities Develop Games using “python/p5.js” Level 1, Grade 4-6 Introduction to foundational computing skills, a transition from blocks to simple code. Introduction to script using p5.js, animation basics, and interactive games. Introduction to Python: variables, loops, and functions to create visuals, artwork, simulations, game,s and more. Unplugged Activities Develop Games using “python” Level 2, Grade 6-8 Introduction 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 Experience Level: Beginner - Moderate Dates: See Below Time: See Below Cost: See Below

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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. Ethnography: 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. We Will Write a Custom Essay Specifically For You For Only $13.90/page! In 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: “Narrative inquiry is stories lived and told,” (Clandinin & Connelly, 2000, p. 20). Storytelling has a history of being treated as a good source of comprehending human experience. Narratives 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. Content 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). It 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. This 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. A 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. This 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. ETHICAL 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. Qualitative 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. Major 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. Maintaining 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.

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What is Line Editing? Line 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. As the term “line editing” 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. A 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. In 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. Finally, 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. While 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. After 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. I 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. I 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. @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. Even 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. In 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. @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. Regarding 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. @ 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. Copy 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. I 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. I 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. How 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. Post your comments

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How to Get Students Talking About Reading With Technology By: Jessica Sanders is the Director of Social Outreach for Whooo’s Reading, a San Diego-based education organization that motivates students to read more every day. It’s 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. An important part of getting students to improve comprehension and enjoy reading is getting them to talk about the books they like and don’t like, whether it’s in a structured format or not. Book talks, or general reading discussions, help students: - Find new books to read—often student recommendations come out of these discussions. - Work through tough spots in plot or character development. - Share their opinions, helping them develop their own reading preferences. With 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. The following ideas and tech tools can be used in any classroom to motivate kids to talk about what they’re reading, both as a class and in small groups. Consider whether your students could benefit from some of these fun activities. Make the Conversation More Interesting Technology 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. - Use YouTube to show the movie-version of a specific book scene. The discussion is no longer, “What did you think of this scene?” Instead, it’s, “What was the difference between the movie scene and the book scene? How does that chance the arc of the story?” - 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. Gamify the Experience Gamification 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—rewards, competition, social interactions—learning becomes more exciting and memorable. This makes gamification a great way to get kids talking about their reading. Consider the following tools that make this possible: - Try a tool like Whooo’s Reading. This online reading log rewards students for “liking” and commenting on their peers’ reading responses. Whenever they interact they earn Wisdom Coins, which can be “spent” in the Owl Shop on accessories for their Owlvatar. Janice H., a Whooo’s Reading teacher, said: “My 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!” - Use Quizizz as a way to get the conversation started by asking a fun and engaging question. For example, “My favorite character from this book is….” 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. - 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, “I would recommend this book to someone else—yes or no?” 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. Bring the Discussion Online Online 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’ve left the classroom. You can use a traditional discussion forum like ClassChatter, where the discussion happens in a thread, usually in response to a prompt—whether that be a question or written assignment. For example, “What parts of the story make it a romance novel? Explain.” You 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—this allows you (and your students) to filter the feed down to just that conversation. Browse blog and media articles Public Library Training K-12 Library Training Leave a Reply

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How to Redirect Sunlight for Plants Plants 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. Living Things Need Sunlight As 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. If 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’t 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. Sunlight Reflector for the Garden The 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. As 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. Using Garden Mirrors for Sunlight Before 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. To 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. The 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. Things You Will Need Gravel, frames or blocks Light cloth (if needed) - BBC: The Dark Town that Built a Giant Mirror to Deflect the Sun - National Geographic: Photosynthesis - University of California Berkeley: Absorption/Reflection of Sunlight - Architectural Digest: Caring for Indoor Plants in Low-Light Conditions - Chelsea Green Publishing: How to Use Reflected Light to Boost Indoor Food Production - Mulch film can be purchased to reflect sunlight from the ground up to plants. - 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. - Do not place mirrors too close to plants or direct bright sunlight, as this may burn the plants. Karen 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.

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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). As 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: - 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. - 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. - 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. - 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. At 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. In 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: - Physical theatre - Stage Fighting - Monologue and Production Unit - Page to Stage acting workshops. Within 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.

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Teacher background information Year 3 Science Content Description Science Inquiry Skills CommunicatingRepresent and communicate observations, ideas and findings using formal and informal representations (ACSIS060 - Scootle ) acknowledging and exploring Aboriginal and Torres Strait Islander Peoples’ ways of communicating information about anatomical features of organisms This 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). Living things can be grouped on the basis of observable features and can be distinguished from non-living things (ACSSU044) A potential way to approach this content description is: In 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. Aboriginal 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. The 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’ song, dance and various visual representations, ensures the behaviour, characteristics and locations of the living organism are expressed and communicated. This 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’ 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’ dance that demonstrates the observable features of organisms.

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Why the History of Juneteenth Is More Relevant Than Ever June 19, 2020 America’s Celebration of Emancipation Also Serves as a Reminder of the Work That Remains This 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. President Abraham Lincoln signed the Emancipation Proclamation on January 1, 1863. This document “freed” 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. “My paramount object in this struggle is to save the Union, and is not either to save or destroy Slavery,” Lincoln wrote. “If 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.” The Proclamation was contingent upon the Union winning the Civil War, which didn’t 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. Our 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 “less than,” and other such oppressions were the ideals of colonizers who founded our “great” 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. This 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. On 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: “The people of Texas are informed that, in accordance with a proclamation from the Executive of the United States, all slaves are free.” Juneteenth (short for “June nineteenth”) is a holiday commemorating this day, which marked the effective end of slavery in the United States. Today, 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’s 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. It is immensely important for Americans to recognize Juneteenth. As NAACP President and CEO Derrick Johnson said in an interview with Teen Vogue, “Today’s 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’s 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’re doomed to repeat it.” Juneteenth 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. The same attitude we have about July 4th must be embraced for Juneteenth. Frederick Douglass said, “This 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.” As 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. Read more about Juneteenth and the continuing legacy of slavery: Find anti-racism resources for you and your business. Compiled by the Team at B Lab U.S. & Canada. Sign Up for our B The Change Newsletter Read 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.

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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. The 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. To 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’s 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. As 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. At 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. The 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.

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February 2023 Edition | Volume 77, Issue 2 Published since 1946 World’s Longest Mule Deer Migration The U.S. Geological Survey (USGS) and researchers at the Wyoming Cooperative Fish and Wildlife Research Unit released an interactive geonarrative highlighting the world’s 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. Learn about Wyoming’s migratory ungulates (mule deer, elk, pronghorn, etc.). Following is the press release issued on December 20, 2022. For 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 “surfing the green wave”) 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. The 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’s Red Desert — a ~480-mile round trip. That’s the longest documented land migration in the lower 48 states, and second only to caribou in North America. In 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. Traveling 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’s lands into private and public parcels. Protecting an animal that migrates long distances is a challenge that won’t fit within the bounds of a single protected area like a national park. The story of Deer 255’s journey paints a picture of the modern West—diverse 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. Mule deer that migrate shorter distances can provide plenty of useful information too—following 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 “surf the green wave.” A new geonarrative follows Deer 255’s fall migration route from end to end, taking the reader through each leg of the trip and the different places she passes through. The geonarrative was developed for inclusion in the Conservation Atlas that the USGS is creating for President Biden’s 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’s natural resources. The 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.

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7 Teaching Principles for Effective Writing InstructionFebruary 9, 2023 In 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’s post handy as you plan and revise your instruction—and prepare students for lifelong success with written expression! Gradual release of responsibility The 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. Explicit instruction of writing strategies Explicit 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’ 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). Differentiated instruction to meet individual needs Differentiated 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.) Scaffolding to support learning of new skills Scaffolding 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: - Breaking a writing task into smaller, more manageable parts or steps - Providing word lists, prompts and questions, or writing tips - Providing sentence starters, writing templates, graphic organizers, and checklists - Providing opportunities for students to work collaboratively Want more tips on scaffolding? Read this post: 10 Simple, Low-Cost Scaffolding Tools You Can Use in Your Classroom Opportunities for collaboration with peers Students’ 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: - Plan how students will be grouped ahead of time. Consider personalities and potential challenges. - Alternate your method of group selection so that students are not always grouped with the same peers. - Set clear expectations for behavior, process, goals, and the final product. - Teach explicit interaction and communication rules—for example, to take turns talking, avoid interrupting, and make sure everyone participates. - Use role play to model appropriate peer discussion and interactive behaviors. - Define the task and the amount of time for collaboration. Use of mentor text as models for writing Most 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’ use of writing techniques associated with writing craft, also called writer’s moves. Sometimes 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’s 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.) Increasing the amount students write in all subject areas Adequate 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 “write 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.” The seven principles in this post are integrated in the instructional suggestions throughout The Writing Rope. Get this bestselling book to keep reading! The Writing Rope A Framework for Explicit Writing Instruction in All Subjects By Joan Sedita, M.Ed. Perfect for professional development, this invaluable planning guide will help teachers apply the science of reading to the skill of writing—and help students master a critical aspect of literacy. Teachers of Grades 4–8 will get crystal-clear guidelines and dozens of included templates, handouts, and other resources. Graham, 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), 879–896. Graham, S., & Perin, D. (2007). Writing next: Effective strategies to improve writing of adolescents in middle and high schools—A report to Carnegie Corporation of New York. Alliance for Excellent Education. Pearson, P. E., & Gallagher, M. C. (1983). The instruction of reading comprehension. Contemporary Educational Psychology, 8, 317–344. Sedita, J. (2020). Keys to early writing (2nd ed.). Keys to Literacy. Write a Comment Your email address will not be published. Required fields are marked * Post a Comment

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Model of notice writing. Notice Writing: Format, Tips, Templates, Examples 2022-10-12 Model of notice writing A 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. There 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. Next, 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. It 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. Finally, 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. Overall, 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. Notice Writing Format, Type, Writing Tips, Examples [PDF] It 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. Notice Writing Format for Class 12 to 6: Examples and Topics At 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. Notice Writing with Examples While 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. A 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. Notice Writing Format Examples for CBSE Class 7 English Writing Skills Mention 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. Notice Writing: Format, Importance, Tips And 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. Public Notice Writing Format, Types, Sample, Example of Notice Writing This 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—aim 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. Notice Writing: Format, Tips, Templates, Examples It 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. How To Write a Resignation Letter (With Samples and Tips) They 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. Notice Writing Format Ross 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 — Dance Competition, NOTICE — School Field Trip, NOTICE — Inter-school Sports Competition. Key information or important things should be underlined or dark color should be used. V Public School, Patna.

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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. These activities are targeted for Elementary School ages. Family Engagement Activities Animal Walks are simple and fun exercises that invite children to use their imagination to move their bodies to copy animals. They are an easy way to get a quick dose of gross motor play into your child’s day. These tasks get kids moving and active and allow them to release energy. Many of these movements develop core strength, balance, and agility which are wonderful for helping children control their sensory needs. Gross motor skills are a big part of children’s healthy development at all ages. Reading Strategies from Classroom to Home: Tips for Providers Read-alouds are a form of shared reading, where children engage and interact with the story while it’s read to them! Listening to stories helps children understand the basics of how a story works, including: the structure of a beginning, middle, and end, elements like characters, setting, and plot Back To School Fall is on its way, and it’s time for the school year to begin — 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’re a teacher — whether a novice or an old pro — Reading Rockets has ideas and resources to help you get ready for the best school year yet. Why is it important to read over the summer? - Research shows that students can maintain or improve reading skills when they are out of school for the summer. - Access to books over the summer increases reading opportunities and enjoyment of books, and helps students be ready for next school year. - Students who read at least five books during the summer can maintain important literacy skills. Ohio’s Dyslexia Guidebook Ohio’s Dyslexia Guidebook is available now. As required by Ohio law, Ohio’s 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’s dyslexia support laws. Resources for Families At Reading Partners we know the learning doesn’t 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’s educational experience. We 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. Where to Find Free Audiobooks and Digital Text-to-Speech Books for Your Child At a Glance - Audiobooks and digital text-to-speech books can be a good way to help kids with reading issues. - You can get these books for free from libraries, schools, and online sources like Bookshare. - Talk to your school and local library about what’s available for your child. How to Teach Kids With Dyslexia to Read Child Mind Institute – 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’t a lack of intelligence, it’s 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’t recognized until they are older, when the demand for reading and synthesizing a lot of material becomes too difficult for them to work around. with dinnertime storytelling, family conversation, and books about food. Regular family dinner may be a more powerful vocabulary-builder for young kids than reading. Unite for Literacy Unite 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. How Parents Can Instill Reading How Parents Can Instill Reading. Parents often ask how they can help their children learn to read; and it’s no wonder that they’re 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’s no wonder that they’re interested in this essential skill. Reading plays an important role in later school success. Reading Rockets for Parents Page- Reading and Learning with Your Child Reading Rockets is a site well loved by educators and parents. Learning About Your Child’s Reading Development Learning to read is difficult. While spoken language develops in most cases naturally, reading requires explicit, systematic instruction. This 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. The Development of Phonological Skills Basic listening skills and “word awareness” 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. Dyslexia is a brain-based learning disability that specifically impairs a person’s 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. - Defining Dyslexia Dyslexia 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. Family and Community Toolbox The 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’s 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. Getting Involved with your child’s learning. The 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. Ohio’s Early Learning & Development Standards The 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). This Parent page has information you can use to help guide your child’s education. Active, involved parents are an essential resource for Ohio’s schools in making the most of every child’s educational experience, from pre-kindergarten all the way through high school. Parent Guide to Helping Your Child Learn to Read for Preschool through Grade Three Success 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. Ohio Department of Education- Parents Active, involved parents are an essential resource for Ohio’s schools in making the most of every child’s educational experience, from pre-kindergarten all the way through high school. This page has information you can use to help guide your child’s education. My Child is in…Preschool, Kindergarten, Elementary School, etc.

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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’s stories. We should keep the story plots in our minds while writing a story. There are seven basic important Children story plots which are discussed below. Overcoming 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. Rags 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. The 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 – The Pilgrim’s Progress, The Lord of the Rings, and The Divine Comedy. Voyage 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 – Ramayana, Odyssey, The Hobbit. Comedy: 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 – The Wasps, Auricularia, The Arbitration. Tragedy: 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. Rebirth: 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. Some Story Plots With 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’s learning and development and these plots help children get motivated. Some of them are as follows:- A young boy who loves magic tricks. Tell the story of a scar. A middle-aged woman locates a ghost. A long journey is interfered with by disaster. At school or work, you get an uncommon task. You tried a new restaurant. The chef comes out and tells about him or her. You meet someone with the same name. You have to give a speech. You win a big prize from a local radio contest. You wake up from an especially realistic dream. Steps 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: Step 1 - Think of a plan Step 2 - Initiate a character and create a setting Step 3 - The beginning Step 4 - The difference of opinion Step 5 - The turning point Step 6 - The decision Step 7 - The end Imagination of a Child’s Own Story In 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. 1. Why are writing prompts helpful? Here are some reasons why prompts are so helpful. They are as follows:- Practise the Language - Creative writing prompts are simple and easy, fun ways to practise. When You Have No Plans and are Confused – When your creativity is warmed up, you will start to come up with your plans. To Develop Your Plans – Use the story ideas below to think about your ideas They are Fun – Fun is also one of the most creative parts of writing prompts. 2. How to write good story plots? We 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. 3. What are the three main elements of a good story plot? There are three elements to a good plot: challenge, conflict, and character. 4. What is the factor that even makes a diverse story useless? A story may not be useful to the reader if it lacks a moral. 5. Why should kids be encouraged to write stories? Kids 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.

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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. Important 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. We 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. Because 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. Fictional 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. Unless 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. The 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 “lies” 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. In 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. See Bruce Hood on narrative and the self. See also Reality and the philosophical stances of Fictionalism and pragmatism.

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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’s 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. General Tips That Must Be Stressed Upon - First and foremost, before starting the exam preparation it’s 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. - 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. - 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. - 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. - 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. Basically, 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 - 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. - 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. For 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. Creativity is an important component of writing and it would be better if students spend some time reading novels to grow their creativity. - 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. Exam Tips to Be Stressed Upon - Stress during exams is unavoidable as students can’t 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. - 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’t go out of context. - 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. - 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. - Finally, check your answers for grammatical errors or misplaced phrases once before submission.

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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’s 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 “doing the right thing mean” The idea of moral agency is not taught in most schools, but it’s an essential part of being a Stoic. Agency is the ability to make decisions and act independently. It’s 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. We all know that in order to do the right thing we need to be able to decide what that “right thing” 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. 4 Stoic virtues 1. Courage: is the bravery to face adversity. It doesn’t mean we’re never scared, but that when we’re scared, we decide to take action instead of run away. It’s the will to press forward, put our heart on the line, and our skin in the game. 2. Temperance/Moderation: Courage is wonderful but we go too far when we take unnecessary risks. It’s 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—that’s temperance. 3. 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. 4. Wisdom: Wisdom means making our philosophy work in the real world. What’s 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. Courage, temperance, justice, and wisdom—are four powerful principles for guiding our decisions. Stoic Adoption And Effective Practice It’s hard to grasp the benefits of virtue without concrete examples, that’s 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’s why movie times are good with your family because, With clear examples in mind, it’s 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’d tell her: “Look, you don’t control what happens to you in life, you only control how you respond.” What do you mean? she’ll likely ask. Here’s what I mean: remember when your friend was mean to you last week? That wasn’t nice of her, but they’re also wasn’t anything you could do about it. If someone wants to be mean, they’re 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’t. That situation—when someone does something bad to you and you have to decide how to respond —well, that’s life, adults struggle with it too. Even your parents don’t 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’ll be and the more fun we’ll have and the less sad we’ll 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’ll have the best life ever and no one will ever be able to boss you around because you’ll be the boss. The boss of your thoughts, feelings, and decisions. You believe that too, Parenting 101. Or you wouldn’t 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. Focus on what we control, talk with kids about how they can’t always control what happens, but they can control how they respond. Sometimes, friends decide to be mean—but that doesn’t 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’t keep ordinary journals, they didn’t 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’s why it’s so important to talk about how virtue is like a muscle, It grows and develops over time with constant exercise. The 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’t 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. An Entrepreneur , B.A Foreign Languages ,PGD Health and Social care Management ,American Caregiver Association (Member) ACA Certified, Leadership and Management.

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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. Grow powerfully through YouTube as you Disseminate scientific work to the masses While 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. Grow powerfully through YouTube as you spread scientific concepts through powerful storytelling YouTube is a favourite for scientists when it comes to creating interactive videos Additionally, 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. Grow mightily through YouTube as you ignite scientific temper among students. YouTube 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. YouTube 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. However, 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. We strongly urge the scientific community to explore the potential of YouTube as a tool for communication, collaboration and outreach. Let’s take advantage of this powerful platform and make science more accessible to the public. Leave a Reply

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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. Modern Indigenous Struggles Many 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. Storytelling as a Possible Solution Many 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’s 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. A New Indigenous Storytelling Platform August 9th is the International Day of the World’s Indigenous Peoples. To commemorate the occasion this year, the People’s Planet Program launched a new platform called Tribal Stories. This platform amplifies the pieces created by indigenous filmmakers in the A’i Cofan community of Ecuador and the Kīsêdjê community of Brazil. Initially, the founder of the People’s 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’s 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. The People’s 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. In tandem with this, the People’s Planet Program helps connect indigenous communities with political activists and legal counsel. They aid them in their fight for equal representation and land rights. When 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. – Danielle Forrey

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CALL FOR PAPER AND POSTER PRESENTATIONS THEME : 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’s and young adult literature, both past and present, through books that truly have the power to enchant, enrich and inspire. Each 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’s and young adult literature are also acceptable, provided they fit in one of the official subthemes: 1. Cognitive Power in Children’s Development · Roles of books and stories in cognitive development · Language, Learning and Literacy · Story-based approaches to teaching and learning · Learning disabilities · Reading for pleasure 2. Stories for Healing for Children and Young Adult · Bibliotherapy for children and young adult · Creative writing and reading · Reading and books for children with disabilities 3. Power of Visual and Aural Presentation in Children’s and Young Adult Stories - Topics related to picture books, illustration, video, graphic, animation and multimedia - Storytelling as a performance art/art form - Power of spoken word, text, audio, or other artifacts i.e. the original multimedia 4. Bridging Divides in Children’s and Young Adult Literature - Multicultural and multilingual themes in literature - National and transnational themes in literature - Translations and communication - Diversity and inclusivity in multicultural society, including Indigenous representation - Oral to written tradition - Multimedia for bridging traditional oral literature with modern technology. 5. Identity and Values in Children’s and Young Adult Literature - Individual, communal and cultural identity in literature - Community and nation building in literature - National Literature focusing on children’s issue - Immigrant and emigrant experiences in children’s and young adult literature - Universal values in children’s and young adult literature - Sustainability of culture and family in children’s and young adult literature 6. Empathy and Memory in Stories and Storytelling - Cognitive/emotional empathy, empathy for in-group and out-group members and empathy with positive and negative consequences - Youth literature as social activism - Representation of memory in children’s experience - Virtues, moral values, humanistic values, etc. in children’s and young adult literature. CALL FOR PAPER PRESENTATION - Abstracts should be no more than 250 words in length, in English, - 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. - Each oral presenter will be allocated 15-20 minutes (including the question & answer session) to present their paper. - The proceeding of the Congress will be made available for all the presenters and participants of the Congress. CALL FOR POSTER PRESENTATION - Abstracts should be no more than 250 words in length, in English. - 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. - Your poster should be no larger than A1: 594 x 841 mm (portrait orientation only). - 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. - If your poster describes a program or initiative, provide an overview of the purpose, participants, development, implementation and outcomes. It 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]: Goal 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. Goal 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. Goal 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. Goal 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. Goal 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.

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Define cause and effect in literature. Understanding Cause and Effect (Sentence Examples and Essay Sample) 2022-10-23 Define cause and effect in literature Rating: In 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. One 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). Cause 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. In 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. Overall, 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. Definition and Examples of Cause and Effect in Essays These 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. What 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. She 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. Understanding Cause and Effect (Sentence Examples and Essay Sample) Consider 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. Connectors of Cause and Effect (Definition and Examples) The 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. What 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. Temporal 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. Answers 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. Such 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. Effect 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.

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Using Storytelling to Improve WritingApril 27, 2021 Once upon a time, homeschool parents overlooked a teaching strategy for writing… It’s easy to be so hyper-focused on preparing your children for academic writing that you forget how important storytelling can be. That’s 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. It may seem like storytelling is just for fun, but storytelling captures the very essence of why we write — to express ourselves — 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’s 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? Let’s look at how storytelling can build better writers. The Benefits of Using Storytelling to Teach Writing Before we get into the benefits of teaching using storytelling, here’s 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. If your children are comfortable sharing their stories, there are many benefits to using storytelling to teach writing: Storytelling provides a purpose for writing. While all students can appreciate writing to entertain others — because they have listened to or read stories for that purpose — older writers can envision how their stories will impact readers through themes and story elements. Storytelling 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. Storytelling 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’s message. Storytelling helps develop a love for writing. That love for writing can trickle down into all forms of written expression — including academic writing. Storytellers often “don’t mind” 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. Using Journalism to Combine Academics and Storytelling If you’re a parent who’s 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. Here are some journalism-based activities that can build storytelling skills: - 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. - Read a feature article from a current newspaper or journal (maybe Scholastic News or Time for Kids) and critique the author’s storytelling. What worked and what could they have done better? - 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. - Learn about a famous person from history, and then write a feature article telling about the person’s life and accomplishments. - Interview a grandparent about a point in history; and then translate that interview into a feature article for a newspaper, magazine, or journal. - Attend a town meeting, and tell the story of the proceedings through an engaging article (yes, this is challenging!). - 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. - 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. - Follow a local sports team and write a trends article, capturing data while telling the story of the team’s progress and success (or lack thereof!). The 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! What News/Media Can Teach Students About Storytelling As 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. Journalism 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. Beyond just knowing an audience, learning to write like a reporter teaches your children to ask themselves, “What would I want to know in this story?” They learn to shift perspectives, determine the relative importance of details, and cover a story from a variety of angles. By making choices about what’s important to know in the story, students learn to write more concisely, a skill that’s valued in the workforce. Learning to remove extra words and streamline the narrative will also improve your children’s storytelling. Journalism 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. We 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’ll be able to capture the attention of readers and keep it, pull readers’ emotions into personal journeys, and effectively express themselves. Whether 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! Additional Homeschool Resources Beat the Homeschool Blues With Writing How to Plan for Writing Success Top 5 Ways for Homeschool Parents to Stay Engaged Faith-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…Read more > Guest post by Heidi Rosenberg You don’t 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…Read more > Easter is always a fun time of the year, isn’t it? It’s a day for candy, games, delicious food, and without even half the pressure that comes with Christmas. In my book, that’s a solid…Read more >

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I remember when I first saw the term “narrative nonfiction” in my state’s reading standards and honestly, I didn’t know what it meant! If you’re new to teaching literary nonfiction, I hope this post will give you a good overview to get you started! What Is Narrative Nonfiction? Narrative 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’s different than expository text, which simply presents the facts. Since 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. It’s 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. Biographies, 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’s a huge variety of texts that will attract readers with different interests in your classroom. Introducing Narrative Nonfiction One 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. They’ll 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. Another option to introduce literary nonfiction is to start with a mentor text read-aloud and ask students to identify the author’s purpose. This leads to great discussions and helps students see that it’s kind of the best of both worlds. Scroll down for some of my recommendations for books to use! Another 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. Here are some examples of book pairings: The Boy Who Harnessed the Wind [picture book] by William Kamkwamba and Wind Power: Alternative Energy by Matthew Ziem I, Fly: The Buzz About Flies and How Awesome They Are by Bridget Heos and Flies by Larry Dane Brimner Similarly, 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’s purpose for this unit – while they’re being entertained, they are also being hit with lots of facts! Literary Nonfiction Skills and Standards There are tons of reading skills that you can weave into a literary nonfiction unit, including: - summarizing the events and supporting details (and sequencing, too) - drawing conclusions and making inferences - identifying the conflict and resolution - analyzing the author’s word choice (i.e., figurative language, descriptive words, vocabulary) - identifying cause and effect relationships - inferring character traits - identifying the narrator of the story - describing how the language, characters, and setting contribute to the plot - explaining the author’s purpose - synthesizing the main idea of the text (i.e., what are this person’s contributions/why is this event significant?) My 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. This 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’s contributions or the event’s significance. I’ve also had some great conversations with my students about what might have happened to the character(s) if they’d lived in a different place or time. My Favorite Narrative Nonfiction Books Here are a few narrative nonfiction mentor texts that I recommend for 3rd-6th grades! Click on the titles for more info! - Finding Winnie: The True Story of the World’s Most Famous Bear by Lindsay Mattick - Pop!: The Invention of Bubble Gum by Meghan McCarthy - We Are the Ship: The Story of Negro League Baseball by Kadir Nelson - The Boston Tea Party by Russell Freedman - One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia by Miranda Paul - Owen & Mzee: The True Story of a Remarkable Friendship by Isabella Hatkoff - Mr. Ferris and His Wheel by Kathryn Gibbs Davis - Separate is Never Equal by Duncan Tonatiuh - The Marvelous Thing that Came From a Spring by Gilbert Ford - Mesmerized: How Ben Franklin Solved a Mystery That Baffled All of France by Mara Rockliff - Henry’s Freedom Box by Levine Ellen - Ivan: The Remarkable True Story of the Shopping Mall Gorilla by Katherine Applegate - Nya’s Long Walk: A Step at a Time by Linda Sue Park - Balloons Over Broadway by Melissa Sweet - One Tiny Turtle by Nicola Davies Scholastic News and Time for Kids are some other good places to look for short narrative nonfiction articles. I think narrative nonfiction is a really engaging and fun genre to teach. It definitely makes informational text more accessible for reluctant readers! It’s 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? This post contains affiliate links; I earn a small commission from products purchased through these links. Hey there – I was wondering if you had a link to the anchor chart you used? So glad I found your site and TPT – need more VA TPT teachers 🙂 Hi Rachel, I’m glad you’re finding the content helpful! Please email me through the Contact page and I can send it to you! I would love to have the anchor chart that you used! I’ll be using your guidance as I teach this for the first time! So great! I 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. I was thinking of how to teach Nonfiction and came across your post. Thank you so much for posting it. I found it very useful. I subscribed but I was never sent these anchor charts. Hi April, thanks for subscribing! You should receive an email asking you to confirm your subscription. Please check for that in your spam folder! I subscribed but was never sent the anchor chart. Hi Erin, thanks for subscribing! You should receive a confirmation email asking you to confirm your subscription, and then you’ll get a second email with the download. Please reach out again if you don’t see it! Thank you for the post. I also subscribed with the hopes of receiving the anchor chart but it hasn’t come through yet. Hi 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? Could you please share your anchor chart? Thanks! Hi there! If you use the link at the bottom of the post to enter your email, it will automatically be sent to you! Thank you for sharing! Hello. 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. Sending you an email, Kimberly! Hi there, I did subscribe like the others but did not receive the anchor chart. I checked my spam folder as well. I’ll send it your way, Lisa!

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Creative thinking in general Creative 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. Creative 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. It is the evidential relation between premises and inferences. Reasoning moves from proposition (premise) and establishes a deduction. Reasoning is of two kinds: deductive and inductive reasoning. A 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. Inductive 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. Methods used in creative thinking This 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 Rene Descartes Methodic Doubt Descartes’ 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. He 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. John Stuart Mill – Liberty (Individuality) He 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. Truth 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. Bertrand Russell – Appearance and Reality This 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. The other party’s opinion ought to be considered. He/she should be preparedand willing to incorporate ideas from the other person after proper evaluation. This 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’s discernments and understanding. This is the consciousness of the need to be faithful to one’s own rational and honesty in acknowledging assistance from other sources. These are the principles by which proper reasoning and understanding can be assessed such as clarity, accuracy, relevance, precision, depth, breadth significance, and consistency. This is the reasoning that empowers one to choose the alternative or decision that yields the utmost value. Theoretical analysis of creative thinking This 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’s view. There are three schools of thought: Coherence 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. Correspondence affirms that what is in the mind must resemble to the reality. The truth is that which is functional. This 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. Syllogism 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 It 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. Caloundra and Buderim U3A Creative Writing Groups. (1989). Creative writing. Caloundra, Qld: Caloundra & Buderim U3A Creative Writing Groups. Mills, M., & Underhill, M. (1992). Creative writing. Dunstable, England: Folens. Mueller, L., & Reynolds, J. D. (1990). Creative writing. Lincolnwood, Ill., USA: National Textbook Co.

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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. It'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. But here arises the question, do you know what happens when the king thinks? Ummm… 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. The Thin King There once lived a Thin King Believe it or not, This Thin King loved thinking And did it a lot. He thought every minute and second he got, He thought even when you would think he does not. He sat on his throne, having thought after thought Of every last person and every last spot, And all of his people from here and abroad Were sitting around and thinking a lot. or maybe it was Sleepersday The Thin King was thinking of plans for today. There came in a Wizard, who spoke and was gone: "My King, there's a problem, You've only got one When you THINK TO DO it, it does not GET DONE! A Child Reading The Thin King Poem So 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. However, one day while the king was thinking, a wizard visited the king and said that he just kept on thinking and didn’t 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. So, 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. It'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. The 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. After reading this article we hope you got the answer to the question ‘what does a king do after thinking?’ The answer is that he does nothing. He just wastes his time overthinking and planning. The 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. 1. What are the purposes of the poems in kindergarten? The 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. 2. What did the king do in the Thin King Poem? In the Thin King Poem, the king only kept thinking and planning all day without taking any actions. 3. What did the wizard tell the Thin King? The wizard told the Thin King that although he keeps thinking about various things throughout the day, he doesn’t 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.

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This post may contain affiliate links. This If You Give a Moose a Muffin sequencing worksheet is perfect for providing students with an opportunity to practice sequencing and retelling the story. Story 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. As you begin planning your activities for If You Give a Moose a Muffin, be sure to include this sequencing worksheet. Give your young learners a jump start on storytelling and sequencing with this sequencing activity featuring Laura Numeroff’s If You Give a Moose a Muffin. If You Give a Moose a Muffin If 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’ll want some jam to go with it. When he’s eaten all your muffins, he’ll want to go to the store to get some more muffin mix… In 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 if you give a moose a muffin lesson To 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. If you don’t have a copy of the book on hand, you can share this video read-aloud with them before moving onto the activities below. if you give a moose a muffin sequencing After 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. This story sequencing activity is pretty low-prep. Just print out the pages you need, cut out the sequencing pictures, and you’re all set. If your students are working independently, have them cut and paste the sequencing pictures onto the sequencing mat. Alternatively, 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. This printable includes two versions. One is full color. The other is black and white. Choose whichever one fits your classroom or homeschool needs. If your kids enjoy this If You Give a Moose a Muffin sequencing activity, they’re sure to love the book, printables, and hands-on activities featured below. if you give a moose a muffin activities - If You Give a Moose a Muffin coloring page - If You Give a Moose a Muffin lapbook - If You Give a Moose a Muffin book companion - If You Give a Moose a Muffin activities Create a storytelling box with mini objects that kids can interact with while listening to or reading the story. Channel your inner Ms. Frizzle when you don these adorable Give a Moose a Muffin earrings when you read this fun story. When 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. Leave a Reply

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Note to the Teacher The 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’s book to retell the story. Times are based on a fifty-minute lesson period but may be adjusted. 1. Ice Breaker: ‘Giant Word Art’ (10 minutes) In 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.). After 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: Encourage 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. If 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. Transition to the scripture reading by telling the youth that in today’s passage Jesus refers to gathering his children like a hen gathers her brood of baby chicks. 2. Read Scripture (5 minutes) Our 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 “get away from here.”. Read Luke 13:31-35. 3. Discussion (15 minutes) - What do you know about Pharisees already? (If it’s not much, allow some internet searching!) Does this knowledge help you understand how Jesus and the Pharisees address each other? - In verse 31, do you think the Pharisees telling Jesus to basically “get out of here” was out of genuine concern? A threat? Something else? - In verse 32, Jesus tells them to go and tell the “fox.” Why would that be a derogatory name for Herod? - In 34b, Jesus says, “How often have I desired to gather your children together as a hen gathers her brood under her wings.” What is a hen doing when she gathers her chicks? Say something like, “There’s an old saying about ‘a fox in a henhouse’ 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’s people at heart. Do you think that people of faith today still struggle to be together and run around in confusion like baby chicks?” - 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? Transition to the closing activity; however, if your group would like to continue to work on their “Word Art” then you may want to allow for some time to complete this project. 4. Activity and Discussion: ‘Fox and Hen Story Book’ (20 minutes) Explain to your students that they are going to create a comic or children’s story book from the Luke 13:31-35 passage. They can choose to use any type of creative writing, drawing, comic style or children’s book style they would like. Hand out pens, paper, markers, colored pencils, and anything else they may need to create these story books. After 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. Close 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. Total time: 50 minutes - Pens or pencils - Crayons or colored pencils

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By Wajahat Ali In 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. Ideas 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. Stories 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. Similarly, 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. If 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. And 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." Despite 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. Around the world, the clichéd story also paints America and all Americans as the "bad guys" who arrogantly stroll into town and violently bully anyone who opposes their might. If these stories persist with such simplistic, one-dimensional caricatures and formulaic narratives, then the predictable third act can only end in tragedy. Indeed, 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. And, 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.

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Outdoor Learning Subject Leader: Mrs. D Thornley Pupils 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’s mental, spiritual and physical well-being. The aims of our outdoor learning are: - To build self-esteem and confidence in children - To build resilient, determined and independent learners. - To develop children’s personal, social and emotional development. - To encourage collaboration - To develop and build the ideas of risk management and risk-benefit. - To improve children’s life skills and experiences. - To enable children to gain respect for the natural environment and wildlife. - To let children be children. Pupils 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. Pupils very much enjoy Forest School sessions; these outdoor sessions, promote physical activity and oxygenate children’s 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. Benefits of Outdoor Learning Outdoor 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. Physical 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. Emotional and Mental well-being: Spending time in woodland areas is calming and reduces stress. Social Development: Development of communication and language skills, the ability to share, take turns and work as a team. Behaviour: Research has shown that being outside has a calming influence on the brain, thereby improved behaviour is noticed. Self-Regulation: The ability to recognise and manage risk as well as understand the reason for boundaries and rules. Increased 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. Creative Development: Through free play and exploration, children become naturally inquisitive of the natural environment, using it as a provocation for storytelling and role play. Curriculum 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. Interventions, 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.

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Indigenous Ways of Knowing Connection to Establishing a Rich and Safe Environment Recurrent Learning Strengths Contrary to popular belief, there is little evidence that a stereotype “learning style” for Indigenous learners exists. Instead, evidence points to their “recurrent learning strengths” that tend to be found among Indigenous learners. These strengths include: - holistic more than analytic - visual more than verbal - oral more than written - practical more than theoretical - reflective more than trial-and-error - contextual more than non-contextual - personally relational more than an impersonal acquisition of isolated facts and algorithms - experiential more than passive - oriented to storytelling more than didactic sessions, and - taking time to reflect more than quickly coming to an answer. These recurrent learning strengths are evident in non-Indigenous learners to varying degrees, as well (Aikenhead et al., 2014, p. 135).1. Some Considerations for Fostering a Supportive Math Learning Environment:2 - Create a community of mathematics learners that includes the educator. - Insist that we are all “math people” and seek examples to show practical examples that illustrate this. - Value the thinking that all students bring to the classroom. - Help students to appreciate that errors and failed attempts are opportunities for learning and have value. - Focus on understanding so that students recognize that mathematics must always make sense to them - 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). - Make learning the goal by supporting every student in playing an active role in his/her learning. - Be careful about offering unsolicited help, and especially only targeting low achievers for assistance. Listen to each student about his/her goals and needs. - Provide cognitively challenging tasks and take the students’ strengths, needs, interests and views into account when planning learning opportunities. - Provide timely and descriptive feedback that will help students to improve. - Inspire students to see math in the world around them. “Reconciliation is not an event. It’s something that needs to enter into the way we do things.”3 It 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. 1Aikenhead, G., Brokofsky, J., Bodnar, T., Clark, C., Foley, C., … 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. 2Ministry 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/ 3Saul, J. (2014). The comeback (p. 260). Canada: Viking.

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This week I want to talk about writing and learning: how we learn and how we could learn. Ancient teachers did not teach “literature” as a separate subject, but they taught storytelling as part of rhetoric—the 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’s 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. Monkeys Deliberate: How the Greeks Taught Writing Here’s an example from an ancient Greek teacher named Hermagones. He offers this short fable as a framework for young writers: The 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. Then he shows how a student might expand the story. He starts with the first “plot point,” the proposal that the monkeys should build a city: The 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. “For see,” said he, “how 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.” A 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. Another monkey might point out that many humans live in squalor and ask, “Why should we leave our beautiful homes among the trees?” A third could remind the monkeys that they always go hungry in winter. A city would allow them to stockpile fruits and nuts. Yet another speaker might address the monkeys’ pride. He could say that every great people has cities, and ask, “Why should humans lord it over all the other creatures? We should show that we’re just as good as they are.” The 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. The 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. The only requirement was that the old monkey needs to win. Nothing says he needs to be right. Structure Enhances Creativity The 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—turning 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. In another exercise, called “impersonation,” 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, “Deliver the speech that a farmer from inland Greece gives when, for the first time in his life, he sees the ocean.” What 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’t think that way at all—and neither did thinkers in the Middle Ages or the Renaissance. They all saw that rules produced and enabled creativity. If you’re 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’ll find—like I usually do—that following those rules makes your writing flow. Best wishes and happy creating,

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Art History-Baroque 20th Century: REALISM: The first movement in Modern Art Realism is considered the first major movement in modernism. It’s 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 “avant-garde,” meaning artists were really looking to break the mold and continually reinvent themselves. PLEASE FOLLOW the INSTRUCTION!! For part one, I’d like you to revert to a more creative writing tone again, as you did for the Grand Tour assignment. Once again you’ll 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’t worry, this will make sense after you read and view the material at the links below!). Tell your friend what it’s 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’s Le Déjeuner sur l’herbe? Were you as scandalized by it as all of the critics, or did you see something new and incredible in it? Remember, you’re a late-19th-century Parisian artist! No one, including you, has ever seen anything like this before! After 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’d 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. Start by reading and viewing the material below, and then get to writing your letters. And have fun! http://www.theartstory.org/movement-realism.htm (be sure to click on “Read More” in the blue box titled “Most Important Art” and read about each of the paintings on that page so you get a sense of the visual progression of realism) For part two, you will choose one of your classmates’ 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’re 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…who knows, maybe he or she will help you get to Paris and you can work and hang out in those cafes together? I had some time between painting so I thought I would write you. I’m 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. As 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’ 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. Most 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’s 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. While I was at The Salon des Refuses, a painting that I saw stopped me in my tracks. It was Edouard Manet’s, Le déjeuner sur l’herbe. 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’m 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? I 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.

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There are two types of programing language – Synchronous and Asynchronous. Every 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. let’s take a simple example , let a = 10; let b = 20; console.log(a); let sum = a+b; console.log(sum); In this example , initially first line of console.log() will be execute. After execution of first line then sum will be printed. Hello World! to the console. and then after 5s Also we can use setInterval function which will print So, setTimeout and setInterval are good example of Asynchronous. Article written By: : Ankita Kataria. Thank you !! This Post Has 3 Comments Id 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 😉

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It's one thing to think about the amazing ideas, and it’s 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? Irrespective 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. Creative Writing Assignments for College Students If 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: - Writing a short story or poem that incorporates a specific theme or word - Creating a script for a short film or play - Developing a character and writing a series of journal entries from their perspective - Analyzing and reimagining a classic piece of literature or art - Collaborating with classmates to write and perform a spoken word piece Whether 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. Archaeological Dig for History/Culture/Art and Design Courses This 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. Questionnaire-Based Survey Taker for Social Sciences Students studying Psychology or Sociology must deal with statistical data. As a rule, they are asked to create a questionnaire for different purposes – 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. Poems for a Literature Course 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. High School Creative Writing Assignments A 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? To 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. Have you ever heard from your educator, “Speak quickly as I’m in a hurry now”? As a rule, you must formulate your ideas as briefly as possible. The same task is in the given creative activity – 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’re required. Writing a Spontaneous Speech At Stanford Graduate School of Business, you’ll 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. Creative Imaginary Story Writing In many creative writing workshops, you’ll find the task of crafting creative compositions. You may ask, “Every day I write my compositions, and my creativity scope is limited to strict academic requirements”. 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’ll 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. Creative Writing Assignments for Middle School Students Students’ 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? Students 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. Creative Essay Writing Students are required to be creative when addressing a specific topic. For example, the topic of the essay can be “What does it mean to be a feminist?” 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. Open-Ended Imaginative Screenplays This 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. 5 Ways of How to Improve Your Creative Writing Skills If 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: 1) Read a Lot If 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. 2) Rewrite a Story Rewriting is one of the most effective ways to improve your creative writing skills. Don’t get surprised that rewriting can help you become creative as rewriting involves using your own words or paraphrasing. Don’t 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. 3) Keep a Personal Journal You don’t 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. 4) Play Imaginative Games Don’t 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, ‘What Happens Next?’, ‘Renaming’, ‘Opposites’ 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’s a nice way to refresh your mind while, at the same time, you will be working on your creativity. 5) Use Creative Writing Prompts The best way to do so is through constant practice. Don’t 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 – in a college, high or middle school. You’ve already know what contributes to your creative writing. Our assignment writing service ideas for creative writing are open to you. Don’t 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.

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