zilongwang/ReadingBank huggingface dataset:
Local Interagency Team Parent Representatives Updated: June 7, 2018 Barre Judy Patterson Phone: 802-476-3066 Email: Judy3265@hotmail.com Bennington VACANT VFFCMH is currently Recruiting Please call the VFFCMH for support 1-800-639-6071 Brattleboro Marlene Wein Phone: 802-464-3579 Email: mwpond@weinvt.com Chittenden Cathleen Francis Phone: 800-800-4005 ext 211 Email: Hartford Marcy Bartlett PO Box 407 Wilder, VT 05088 802-384-3683 marcygrambartlett@gmail.com Middlebury Lorraine Sylvain Phone: 802-238-1183 Email: Morrisville Donna Sherlaw Phone: 800-800-4005 ext 211 Email: Newport VACANT VFFCMH is currently Recruiting Please call the VFFCMH for support 1-800-639-6071 Rutland Cinn Smith Phone: 802-353-6817 Email: Springfield VACANT VFFCMH is currently Recruiting Please call the VFFCMH for support 1-800-639-6071 St. Albans VACANT VFFCMH is currently Recruiting Please call the VFFCMH for support 1-800-639-6071 St. Johnsbury VACANT VFFCMH is currently Recruiting Please call the VFFCMH for support 1-800-639-6071
The Literacy Promise Session Information March 28-30, 2018 Salt Lake Downtown Marriott at City Creek Wednesday, March 28 Registration: 5:00– 6:30 Deer Valley Rooms Opening Keynote: Jessica Day George 6:30 – 7:30 pm Grand Ballroom Thursday, March 29 Registration: 7:00 – 8:30 am Deer Valley Rooms Breakfast: 7:20 – 8:30 Opening Keynote: Doug Fisher “Making Literacy Visible” 8:30 – 9:45 am Grand Ballroom Breakout Session I: 10:00 – 11:15
A.J. Juliani “LAUNCH into Design Thinking: How to bring out the maker in every student” Ballroom ABC Wiley Blevins “A Fresh Look at Phonics (Double Session) Ballroom D Regie Routman “Literacy Essentials: Engagement, excellence, and equity for ALL learners” Ballroom E Doug Fisher “Assessment Capable Learners” Ballroom F Kipp Rogers “Integrating 21st Century Technology into Your Current Curriculum” Ballroom GHI Lunch — 12:45 – 1:45 Breakout Session III: 1:45 – 3:00 A.J. Juliani “Genius Hour (and 20% Time) in the Classroom”
Jennifer Nielsen “Get Them Writing” Ballroom GHI BREAK – 11:15-11:30 Breakout Session II: 11:30 – 12:45 Maria Nielsen “Show Me What ya Got: The fifteen day challenge: Win quick, win often” Ballroom ABC Terry Young and Rachel Wadham “New Releases You Need to Catch Today for Grades 7-12” Ballroom D Eric Jensen “Tools for Engagement” Ballroom E Jeff Wilhelm “The Power of Promoting Pleasure Reading: For the good of kids and country”
Ballroom F Katherine Bomer “Conferring—the Mind, Heart, and Soul of Teaching Writing to Students of Any Age” Ballroom GH Jennifer Nielsen “Connecting Authors and Readers” Ballroom IJ Lunch – 12:45 – 1:45 Closing Keynote: Sam Glenn Sam Glenn: Attitude Changes Everything! 1:30 – 2:45 Grand Ballroom Door Prize Drawing – Must be present to win.
Global Learning Course Assessment Matrix Faculty Name: Course: LIT 3671 Global Issues in Literature Academic Unit: College of Arts and Sciences Degree Program: B.A. in English Semester Assessed: Global Learning Student Learning Outcome Addressed Assessment Method Assessment Results Global Perspective: Students will be able to develop a multi-perspective analysis of local, global, international, and intercultural problems. Assessment Activity/Artifact: Multiple choice questions Team-based project Evaluation Process: Number of correct questions Rubric, scale of 1-5 Minimum Criteria for Success: 1. Test score average of 70% 2. Rating of 3 of 5 on rubric. Sample: All students will be assessed To be entered after each time course is taught Course Learning Outcome Students will demonstrate an understanding of trade, migration, exile, and transnational processes affecting several short literary works. Use of Results for Improving Student Learning To be entered after each time course is taught Global Learning Course Assessment Matrix Faculty Name:
A SUMMER'S READING / Bernard Malamud 19. In his writing Malamud managed to create an honest picture of the life of immigrants in America. Make a connection between the above quote and the story. Support your answer with information from the story. PART I (43 points) Answer the questions for (A) Thank You, Ma'm. A. THANK YOU, MA'M / Langston Hughes 1. Why does Mrs. Jones tell Roger that "I were young once and I wanted things I could not get"? (i) She wants to show him that she is special. (ii) She wants to tell him she also did bad things. (iii) She wants to buy him blue suede shoes. (iv) She wants him to feel sorry for her. (6 points) 2. After Roger says, "There's nobody home at my house," Mrs. Jones (–). (i) invites him to stay with her (ii) gives him supper (iii) calls the police (iv) talks to his parents (6 points) 3. "Roger looked at the door – looked at the woman – looked at the door – and went to the sink."
Global Learning Student Learning Outcome Addressed Assessment Method Assessment Results Global Engagement: Students will be able to demonstrate willingness to engage in local, global, international, and intercultural problem solving. Assessment Activity/Artifact: Final Project Evaluation Process: Checklist -Students will be able articulate their personal experience of moving across boundaries and unfamiliar territory -Students will be able to engage appropriately with Czech people who can help them understand the lived histories of others Minimum Criteria for Success: 17 out of 25 points possible Sample: All students will be assessed. To be entered after each time course is taught Course Learning Outcome Students will be able to demonstrate a strong motivation for and willingness to move across boundaries and unfamiliar territory in order to engage with others and develop intercultural competencies in viewing the world from multiple perspectives. Use of Results for Improving Student Learning To be entered after each time course is taught
used to show his distress – harsh language used. Don’t forget to look at the stage directions as well! ‘The money’s not the important thing. It’s what happened to the girl and what we all did to her that matters.’ (65) Eric proves that he is good at heart and understands that they were morally very bad to the girl. Gerald Another gentle character who might have helped Eva in generosity but allowed his superiority over her to lead to sex. Perhaps he should have considered what would happen to the girl when his help stopped, as it was always going to. ‘And I’ve told you – I was awfully busy at the works all that time.’ (3) Gerald proves that he is capable of being so dishonest to someone he should respect, i.e. Sheila. ‘I didn’t install her there so I could make love to her… I was sorry for her.’ (37) Gerald may have tried to help her but he never considered what would happen when he took the help away. ‘She told me she’d been happier than she’d ever been before.’ (39) As above. Gerald’s sense of generosity is not only providing him with sex without responsibilities, it is also misplaced. Themes – Make your own notes! Social Responsibility
Citations Columbus, Christopher. “From Letter to Luis de Santangel Regarding the First Voyage.” The Norton Anthology of American Literature. Shorter Seventh Edition. Ed. Nina Baym et al. New York, NY: W.W. Norton & Company, 2008. 71. Print. De Vaca, Alvar Nunez Cabeza. “From The Relation Of Alvar Nunez Cabeza de Vaca.” The Norton Anthology of American Literature. Shorter Seventh Edition. Ed. Nina Baym et al. New York, NY: W.W. Norton & Company, 2008. 71. Print. Lewis, R. W. B.. The American Adam. University Of Chicago Press 15 Sept. 1959. 5. Print. Smith, John. “From A Description of New England.” The Norton Anthology of American Literature. Shorter Seventh Edition. Ed. Nina Baym et al. New York, NY: W.W. Norton & Company, 2008. 71. Print.
5 days in August – A literature review of cost and benefits of crime prevention interventions Introduction & Background Ipsos MORI were commissioned by DCLG to conduct a literature review to inform the ongoing programme of work for the Riots Communities and Victims Panel. The review forms one part of a three strand study exploring developmental pathways and best practice in tackling crime. In particular the review aimed to identify different approaches to managing the type of offenders involved in the riots and the costs and benefits of interventions at various stages. Literature on the role of different agencies aimed at turning vulnerable young people away from crime and disorder and rehabilitating those already in the system was also explored. Methodology This report is a short but comprehensive review of the different approaches used to tackle the causes of youth crime nationally and internationally. Where able, consideration is also given to how these methods are. The questions asked are as followed: What are the underlying causes of youth crime and what attempts are being made to reduce the impact of these associated risk-factors? What are the financial and social costs associated with youth crime? How effective are the attempts being made to reduce youth crime and how do they compare? To what extent can we measure the cost-effectiveness of prevention and restoration programmes? Search Strategy To address these questions, relevant research concerning these areas were identified by searching internet and journal sources within the discipline of criminology, the social sciences and crime and justice using an extensive list of key search terms in order to cover the complexity of the youth crime subject, and address all possible areas. A comprehensive search of international research was gathered in order to add weight to the UK findings and examine the picture of approaches to tackling youth crime on a global scale. Selection Criteria The results were assessed in regards to their relevance. The criteria for establishing this significance was based on: • How well the resource could demonstrate the context of youth crime; • Outline of the key theoretical arguments; • Evidence of a successful programme; • Evidence of a cost-effective programme; and • The robustness of the design of the research and quality of evidence. Study Description This short review of existing literature firstly explores the developmental pathways of young people into crime and anti social behaviour. Secondly, it examines the evidence that exists in effectively addressing these factors and the behaviour of young people, in particular the cost effectiveness of such initiatives. Evidence drawn from international literature is also considered, in reviewing the wider knowledge base of ‘what works’.
In Deleuze and Guattari’s (1999) view, the fluidity of becoming, which underlies deep change, is not of a sexualized nature. They speak of it in terms of receptivity; it is profoundly relational; it is what I refer to as ‘becoming old/becoming child’. Though there is little scope to expand on it here, this a-sexual aspect of analysis recurs in Winnicott and Turner, whose work, discussed below, also emphasizes flow and connectivity rather than differentiation. Deleuze reverses the relationship between repetition and repression: ‘We do not repeat because we repress, we repress because we repeat’ (Deleuze, 1994, p. 105). Repression happens because our tendencies, or, as I put it earlier, our pattern of identity, repeat themselves in a passive, i.e. involuntary synthesis of who we are. We remake ourselves out of continuously changing circumstances, which, by necessity, involves also forgetting, leaving something behind. As nothing is ever really totally erased, it is perhaps more accurate to say that we go through a process of foregrounding some aspects of ourselves, while others recede to the background. What is needed to adjust to and manage the change are objects that help us to relate the virtual and the actual, the past, the present and the potential of the future in a synthesis that opens the way to the new. This is even more important when part of the new is not something we cherish and long for. It may be learning to live with problems, pain, illness or loss of capacity, and, of course, eventually the letting go required by dying. Transitional objects and phenomena -- Winnicott Winnicott (1951) speaks of transitional phenomena as follows: The transitional objects and transitional phenomena belong to the realm of illusion which is at the basis of the initiation of experience . . . This intermediate area of
LITERACY DIET ACTIVITIES FOR INSTRUCTIONAL READERS To focus on FLUENCY GOAL: Speed, accuracy, and prosody 20% of instructional time To Develop Fluency Daily reading in independent or familiar instructional level texts Repeated readings (including timed repeated readings) Paired reading Radio reading and poetry reading Choral and echo reading Reader’s theater Chunking strategies Fluency checklists for self-assessment Look for the signal Marking phrases Repeated readings with emotion cards Rasinski phrases with emotion cards Tape-assisted reading To focus on WORD KNOWLEDGE (including spelling/phonics/phonological awareness) GOAL: Automatic word recognition/ understand pattern and meaning layer of orthography 20% of instructional time To Develop Letter-Pattern Knowledge Word sorts Writing sorts Word hunts Analogy-based activities To Develop Automaticity of High Frequency Words Word banks High-frequency word bingo Sentence concentration Word wall activities Flashed words Rasinski phrases To Develop Reading Strategies Word analysis strategies (analogy, chunking, etc.) Self-Questioning bookmarks Personal readers To focus on COMPREHENSION/VOCABULARY GOAL: Strategies for reading comprehension 40% of instructional time To Enhance Comprehension Development DL-TA/DR-TA format for read-alouds Use of fiction and non-fiction texts Explicit instruction of comprehension skills, inc. Making predictions Making connections to experience, world, other books, etc. Building/accessing prior knowledge Visualization Self-monitoring Questioning Making inferences Summarizing
Classroom environment ___Print rich environment that supports reading/writing ___Space for both small and large group instruction ___Current word walls ___Classroom library ___Quality student work posted (up to date) ___Available resources (dictionaries, thesaurus etc.) Literacy Centers/Stations ___Instructional framework in place for each group ___Centers are clearly differentiated ___Evidence of routines ___Data guides instruction for activities ___Clear and concise expectations ___Materials are available and organized ___Smooth transitions ___Students actively engaged on task in centers Reading Instruction ___Effective use of reading block ___Instruction is differentiated/scaffold ___Teacher activates prior knowledge ___Lesson demonstrates depth of planning ___Collaborative strategies used ___DOK questions used for appropriate rigor Engagement of Students ___Students know and use reading strategies ___Students are actively engaged in activities/reading/writing ___Students remain on task ___Students engaged in rigorous discussions during collaborative groups ___Students refer to resources during instruction ___Students able to answer question about lessons/focus ___Lessons have varied methods of instruction (cooperative learning, pared learning etc.)
Intriguingly, it was discovered that only 2.2% of our genome is functional and shared with mice. But according to the researchers, that doesn’t necessarily mean we are that different and it’s difficult to tell what explains our differences as species. “We are not so special. Our fundamental biology is very similar,” said co-author . “Every mammal has approximately the same amount of functional DNA, and approximately the same distribution of functional DNA that is highly important and less important." [Via and ] Check Out These GLOWING Fish! May 22, 2014 | by Lisa Winter photo credit: Ruby Jylin via YouTube Many organisms have been genetically engineered to glow: , , , monkeys,, and even . When a new glowing organism is announced, many people don’t seem to understand or appreciate why it has been done. While there is the inherent “cool” factor with a glowing organism, the technique wasn’t developed just for fun. Biologists utilize genetic engineering for a variety of purposes. They can learn more about the function of a gene if they suppress or amplify its expression. Some genes are pleiotropic, in that they influence many phenotypes, even if they seem unrelated. For this reason, it is incredibly important to understand where a gene is being expressed, but that is slightly more difficult. For that reason, reporter genes for green fluorescent protein (GFP; which gives certain jellyfish their natural bioluminescence) can be inserted into the genome and produce a visible signal when the desired gene is expressed. This allows the researchers to get visual confirmation that the genetic engineering was successfully completed in the desired location. But ? The gene that encodes GFP is replicated through polymerase chain reaction (PCR), which essentially works like a Xerox machine for DNA. The environmental conditions coax the DNA into replicating until there is an adequate supply. The DNA is then altered to over express the GFP, which will make it easier to see in the animal model. The GFP gene is combined with promotor and enhancer
Term1 Term2 Term 3 Term 4 Term 5 Term 6 Fiction Non Fiction Fiction Non Fiction Fiction Non Fiction Fiction Non Fiction Fiction Non Fiction Fiction Non Fiction N Brown Bear, Brown Bear The Rainbow Fish Dear Zoo The Gingerbread Man The Very Hungry Caterpillar Goldilocks We’re Going on a Bear Hunt R Going on a bear hunt Owl Babies Q Pootle 5 Beegu The little Red Hen The Tiger Who came to Tea The Enormous Turnip Oliver’s The Lady Bird How to Catch a Lady Bird. Mr Gumpy’s Day Out Mr Gumpy’s Day out. Recount Y1 3 Billy Goats Gruff Traditional tale Toolkit: Openings Innovation: Substitution How to trap a troll Instructions Monkey See Tricking Tale Toolkit: Suspense Innovation: Substitution How to travel safely through the forest. Billy’s Beetle Losing Tale Toolkit: Endings Innovation: Substitution We want a pet! Handa’s Surprise Quest Story Toolkit: Settings My Day! Recount (Diary) Y1 – 5 Shared Story Three Wishes Wishing Tale Toolkit: Character-isation Lighthouse keepers lunch Defeating the monster Toolkit: Innovation: Substitution Should seagulls eat Discussion Innovation
Y2 Traditional Tale Toolkit: Openings Innovation: Substitution + addition How to spin straw into gold Instructions The Papaya that spoke Quest Tale Toolkit: Setting Innovation: Substitution + addition Buy my Papaya! Amisi and the fig Tricking Tale Toolkit Innovation: Substitution + addition My interesting journey! Recount ( Letter) Kasim and the greedy dragon Warning story Toolkit:: Ending The Rainbow Dragon NC report Y1 – 5 Shared Story Three Wishes Wishing Tale Toolkit:: Characterisation The Enormous Crocodile Defeating the monster Toolkit: Dialogue Innovation: Substitution + addition Should the Enormous Crocodile be banished? Discussion Y3 Jack and the Beanstalk Defeating the monster/ Traditional Tale Toolkit: Openings Innovation: Substitution addition Should Jack be jailed? Discussion Nail Soup Tricking Tale Toolkit: Dialogue Innovation: Substitution / addition How to make a delicious soup Dobber and the Silver Ring Losing/finding tale Toolkit: Suspense Innovation: Substitution / addition Bully Proof mobile phone Lila and the secret of Rain Quest tale Toolkit: Settings +addition Lila’s Diary Recount Y1 – 5 Shared Story Three Wishes Wishing Tale Toolkit: Settings Why do bats sleep in the day? Toolkit: Innovation: Substitution / addition Report on
Y6 Spy Gadgets NC rreport Portal story Toolkit: Endings Innovation: substitution + addition The Caravan Warning Tale Toolkit: Setting Innovation: substitution + addition +re order A Lucky escape Recount report) Harry Potter The Chess Game Defeating the monster Toolkit: Suspense Innovation: substitution + addition + reorder How to play wizard chess Preparation for writng portfolio Revisit: Finding Losing Tale Warning Story Defeating the monster NC report Recount - Newspaper Reposrt Explanation Persuasion Discussion Creative poetic writing Reread and retell texts from Y5 and Y6 to support independent boxing up as planning tool.
Literacy Services Reading Data Summary Sheet School Year 2015-2016 School Name _______________________ Date __________ Completed by ____________________ Grade Total # of Students Assessed Total # of Students AT Grade Level (Do not include ABOVE grade level students) Total # of Students BELOW Grade Level Total # of Students ABOVE Grade Level. (They are NOT included in the AT level column). Number of Students who Achieved 1 year’s growth or more Of those who did not achieve 1 year’s growth, how many receive pull-out intervention? K N/A N/A NA N/A N./A 1 2 3 4 5 6 Total
Example: Helping scaffold their understanding of what is being read by: Finding key words/phrases Text highlighting, underlining or writing on a sheet alongside the text. Decide on those words which are crucial to the content. Summarising Find a key sentence to summarise each paragraph. Students put these ‘main ideas’ together to create a précis (summary). Deleting Leave out unimportant sentence creating words (e.g. ‘and’, ‘the’) as notes do not need to be in sentences. Leave out redundant material (e.g. repetition, unneeded details). Younger and less able pupils may need to cross out this redundant material, initially. Substituting Combine lists or groups of items when possible (e.g. ‘apples, pears and grapes’ could be written as ‘fruit’). Abbreviating
Homework Please complete the homework and return it by Thursday 4th February. Literacy We’ve been learning this week about fronted adverbials, also known as adverbial openers. This is where the start of the sentence tells us about the verb in the sentence. For example: As quickly as he could, the man ran away. Choose which red opener links with the rest of the fronted adverbial. The sentences are about baby superheroes. In a similar way to adult superheroes… Soon after this… During this stage of development… Whenever they move their mouths… Since they are very small… By the time they are six years old After their teeth have developed… While their teeth are growing… Before their bones are fully formed… As a result of this… Because of their small size… Later on in their lives… Unlike baby villains… Maths Please visit Mathletics.co.uk or download the app to start playing some maths online.
Spring Bank Primary – Literacy Long Term Plan 2015-2016 Autumn Autumn Spring Spring Summer Summer Year 1 Key stories Labels and Captions Poetry - senses Key stories Instructions Information Texts Poetry – patterns Traditional Tales Recount Poetry on a theme Information Text Key stories Recount Year 2 Stories Traditional Stories from Other Cultures Instructions Comic strip stories Superhero non-fiction Poetry - contemporary Fairy Stories Poetry - classic Non-fiction –animals Poetry Non-fiction Extended stories Year 3 Information texts Stories with familiar settings Performance Poetry Fairy tales Adventure and Mystery Stories z Shape poetry Myths, legends and fables – Roman Play Poetry – language Instructions Letters Reports Year 4 Poetry – creating images Myths – Ancient Greece Plays Explanations (Cracking Contraptions) Stories with historical settings Stories with issues and dilemmas Information texts Fiction from Imaginary Worlds Poetry – Exploring Form Information texts Persuasive texts Stories from Other Cultures Year 5 Modern fiction - There’s a Boy in the Girls’ Bathroom by Louis Sachar Poetry – The Highwayman Books from other cultures or traditions Poetry Instruction writing Traditional Stories from other cultures - French pourquoi tales Plays Persuasion Modern fiction - Tuesday by David Weisner books Fiction from our Literary Heritage - The Hobbit Year 6 Non-Fiction - Biography/ Autobiography Poetry – Power of Imagery Genres – comparing fiction from the past and present? Fiction from our Literary Heritage - Shakespeare Non – fiction – Discussion Modern Fiction – Short Stories with flashbacks Eye of the Wolf Non Fiction reports Poetry from our Literary heritage – Jabberwocky Folk tales/ traditional stories Non – fiction – Discussion Plays
Kafka, F. (1915). The Metamorphosis (D. Wyllie, Trans.). Retrieved from Project Gutenberg: https://www.gutenberg.org/files/5200/5200-h/5200-h.htm Ryan, S. (2007) Franz Kafka’s Die Verwandlung: Transformation, Metaphor, and the Perils of Assimilation. Seminar: A Journal of Germanic Studies, 43(1), 1-18. Sokel, W.H. (1983). From Marx to Myth: The Structure and Function of Self-Alienation in Kafka’s Metamorphosis. Literary Review, 26(4), 485-496.
JING XIU: I think[pause] that would be good. Maybe then I’ll finally be free of this anger. BUO XIAN: Maybe you will. [sigh] Maybe you will. The curtains close. ACT 2 SCENE 1 It is the eleventh day of the month. JING XIU is in the village general store to pick up materials requested by BUO XIAN for the Ghost Festival. JING XIU: Do you have the paper used for making the water lanterns and lanterns? STORE CLERK: Yes, in the aisle over there labelled Ghost Festival. For the water lanterns, they usually use candle wax to keep them afloat. The village ladies make some for everyone to use though. JING XIU: That's very nice of them. I'm not celebrating in the village, though. STORE CLERK: Not in the village? There's nothing else here but the village. JING XIU: I'm staying up in the mountains, in the inn near the forest. STORE CLERK: The inn? By yourself? JING XIU: [with confusion] Of course not. With the innkeeper. AUNT SU ZHENG walks in from the left, where the store door is located. AUNT SU ZHENG: Have you eaten yet, da ge! STORE CLERK: I have. What about you, mei mei? AUNT SU ZHENG: I have. I came to pick up more materials for the lanterns, and some matches to light the altar. Oh, who is this? AUNT SU ZHENG turns towards JING XIU and lets out a large gasp. AUNT SU ZHENG: It can't be… JING XIU: Is there something wrong?
to model key learning values such as enthusiasm, persistence and curiosity. These tips and activities can also be used by a child’s older siblings and grandparents, or other relevant people in a child’s life, to help develop their literacy and numeracy skills. The booklet is divided into activities for two age groups: Birth – Year 2, and Year 3 – Year 6. Go to the sections appropriate to your child’s level and look at the tips and handy hints. You don’t have to do all the activities but doing some everyday will improve your child’s learning. This booklet aligns with the Victorian Early Years Learning and Development Framework (Birth – 8 years of age) and the Victorian Curriculum (Levels Foundation – 10), both of which outline what is important for all children to learn. The activities in this booklet reflect these standards, and support content taught every day in your child’s early childhood service and school. For information on the Victorian Early Years Learning and Development Framework go to: For information on the Victorian Curriculum go to: If English is not your first language, you can always involve your child in these activities in your first language instead of English. Research shows that learning two or more languages from a young age can benefit children in many ways and help them succeed at school in all subject areas. WHERE CAN I GET HELP? Your Child’s Maternal and Child Health Nurse Your child’s maternal and child health nurse can provide advice about your child’s health and development and provide general advice on ways to stimulate your child’s learning.
YOUR CHILD’S EARLY YEARS EDUCATOR, KINDERGARTEN TEACHER AND SCHOOL TEACHER Your child’s early childhood educator, kindergarten teacher and school teacher can provide advice about how you can help develop your child’s literacy and numeracy skills. Topics you could discuss with your child’s early years educator, kindergarten teacher, or teacher include: your child’s progress in literacy and maths the goals your child is working towards in literacy and maths, and how you can support your child to achieve them strategies you can use to assist your child in areas he or she finds difficult how your child has responded to the tips in this booklet. ONLINE RESOURCES The Victorian Premiers’ Reading Challenge runs each year from March to September. Participating early childhood services and schools will register your child – otherwise you can register your child at: The Victorian Maths Challenge is a fun and engaging way for families to engage in real life mathematics and explore problems together: The Victorian Government’s Find Use Share Education (FUSE) website makes it easy to connect to great learning tools from your home computer or local library computer. It includes games you can play with your child to build their literacy and numeracy skills: The Department of Education and Training has general information and resources for parents with young children: The Department’s website also has general information and resources for parents with children at school:
(with page number for reference) narrator the story teller point of view the perspective from which a story is narrated (first-person singular, first-person plural, third-person limited, third-person omniscient, alternating points of view) setting time and place of the story; involves historical, cultural, social factors that influence the plot atmosphere/mood the feeling, emotion, or mood that an author creates in a narrative through descriptive language protagonist the main character of a work of literature antagonist a character, group of characters, or other force that presents an obstacle or is in direct conflict with the protagonist characterization the act of creating and describing characters in literature direct characterization the author telling the audience what a character is like indirect characterization the author showing the audience what kind of person a character is through the character’s thoughts, words, deeds, and the responses of other characters conflict the result of competing desires or the presence of obstacles that need to be overcome plot the events that occur during the course of that story plot structure the way in which events are arranged and presented to the reader exposition a form of writing that explains what’s happening or has happened in the story; may provide
falling action the various consequences of the critical decision made and action taken at the climax denouement/resolution the final moment in which there is resolution for any remaining conflicts in the plot theme an underlying meaning or message of a literary work that may be stated directly or indirectly style the writer’s choices as it relates to the way a narrative is written tone the writer’s attitude toward a subject or an audience voice the unique personality of a literary work that comes through the writer’s manner of expression and other writerly choices genre a category of literature; works within each category have the same essential features
Jane Doe Jessica Bailey ENG 102 17 April 2015 Battling Nazi Racism In her book, The Zookeeper’s Wife, Diane Ackerman tells the true story of Jan and Antonina Żabiński, two Polish zookeepers who live in Warsaw, Poland. When Germany attacks and takes control of Poland in 1939, Jews are killed, sent away to work, or forced to live in the Warsaw Ghetto. Although the Żabińskis are Christians, they have Jewish friends who face the wrath of the Germans. In an attempt to help, Jan and Antonina offer their house to any Jew who is lucky enough to escape from the Ghetto. Even though the focal point of The Zookeeper’s Wife is the kind work of the Żabińskis, Diane Ackerman also addresses the effects of Nazi racism in wartime Poland while discretely portraying feminist criticism. To lay some background of German hatred toward Jews, Ackerman introduces the main voice behind this hatred: Adolf Hitler. As the leader of Germany, Hitler dislikes Jews because he believes they make the world racially impure. Hitler, along with the other Nazis, believes that in order to restore purity within the nation, he must “purify the bloodline” by exterminating the Jews. The Nazis believe that the purest race is the Aryan race, and their goal is to fill the world with people of this kind (The Zookeeper’s Wife). Suzanne Antonetta adequately explains this concept when she says, “Not only did the ideology of the Third Reich demand the creation of human racial purity---an Aryan race spilling over into the lebenstraum or “living space” created by the deaths of millions of
2-3 pages, double-spaced Proper MLA format Works Cited page Times New Roman size 12 List of texts: “The Necklace” by Guy de Maupassant “The Interlopers” by Saki “Story of An Hour” by Kate Chopin “One Ordinary Day, with Peanuts” by Shirley Jackson “The Lottery” by Shirley Jackson “Gaston” by William Saroyan Lord of The Flies by William Golding Timeline: _________, __________: Thesis due _________, __________: Outline due _________, __________: Rough draft due _________, __________: Second draft due _________, __________: Final draft due
The blue rectangle is the central part of your paragraph. It contains the text reference and text support that “proves” your theme is evident in the actual text. The bottom triangle contains the head and heart, which, in many ways, should be the most interesting and thoughtful part of your paragraph. It is where you discuss the importance of the theme in the text support and text reference in the smoking gun. See how (as opposed to the upper triangle) it starts narrow and expands to allow you to logically tie back in to your broad theme in your concluding sentence. Be sure to follow “all” of the details of the rubric explained in the steps below, and try your hand at a creating a well-crafted literary analysis paragraph—one that we call a “whamdammer” in my class! In the rubric below, I use an example paragraph written by Ryan Ewing one of my 8th grade students in 2013. The strength of Ryan’s paragraph is not just that it is a good paragraph; it s because he follows the details of the rubric throughout his paragraph. If you wish, replace his text with your own text, then cut and paste your words into a new document and save and submit as required by your teacher. 1. ASSIGNMENT INFORMATION As Mae West said, “It is better to look marvelous than to feel marvelous.” In that spirit, create assignments that “look” good. In the top right corner of your assignment post your name, class, section, assignment name and date. For Example: Ryan Ewing 8th Grade English Section One Huck Finn Paragraph 5/20/2013
“You’re hot and you’re cold, you’re yes and you’re no” __________________ “It’s like rain on your wedding day...your big outdoor wedding is now postponed” ___________________ “Let the sky fall, when it crumbles, we will stand tall and face it all together” ___________________ “Lipstick was on his collar and he stunk of perfume, but Sally was not at home to see Tom’s arrival” ___________________ “I walk alone…on this boulevard of broken dreams…I walk alone” _______________________
Much of literature reflects the individual’s response to conditions of external or internal conflict. Write an essay based on ONE of the short stories you studied, in which the author examines the nature and effect of individual response to opposing forces or views. What idea does the author develop regarding the individual in the midst of conflict? Develop your essay by providing specific supporting details You may write your essay on any ONE of the following stories: “Lonnie Comes Home” by Alden Nolan “To Build a Fire” by Jack London Literary Essay Criteria Checklist – also see the rubric on the reverse of this page Title - 1 mark 750 – 1200 words - 1 mark Clear thesis statement at the end of the first paragraph - 1 mark Proper formatting (12 font, double spaced, 5 paragraphs) – 3 marks TAG (Title, Author, Genre) – 1 mark Outline/planning page – 2 marks Integrated quotations from short story text – 1 mark Total Essay Mark = 45 marks 10 marks from checklist (above) 35 marks from CARL marking rubric This assignment is due at the end of the class on Friday, January 8th. You are required to hand in your planning outline/page/documents - stapled to your essay. Note: It is also an option to write a compare and contrast essay related to both of the stories.
25. Gayatri Spivak, ‘Can the Subaltern Speak?’; Ketu Katrak ‘Decolonizing Culture: Toward a Theory for Postcolonial Women's Texts’ 26. Sandra Gilbert and Gubar, The Madwoman in the Attic, chapter 1; Hélène Cixous, ‘The Laugh of the Medusa’. 27. Elaine Showalter, A Literature of their Own 28.The Routledge Queer Studies Reader, 2012 (essays by Halberstam, Halperin, Ahmed, Edelman, Dean, Muñoz) 29. Homi Bhabha, The Location of Culture 30. Cary Wolfe, “’Animal Studies,’ Disciplinarity, and the (Post)Humanities” in C.W., What is Posthumanism?
It is worth noting however that even where the procurement of services takes place at the most local level, there is still scope for the much wider range of skills and resources involved in commissioning to be shared across multiple organisations. Commissioning Support Units – which provide support functions to GP commissioners in England – work across multiple commissioners. Some of this function may be provided at a national level, but may also be locally augmented by local alliance arrangements. As an example of this, Victoria has a PHN alliance arrangement that aims to share evidence and guidance across the six PHNs in the state and also play a role in influencing important shared stakeholders. Where commissioning is delegated to a very local level, it is important to consider how access to the full range of skills and resources required will be available, and whether there is a market available to support this. The benefits of devolution or distribution of commissioning responsibility should also be carefully balanced against the risk of fragmented commissioning. Reforms to the English health and care system in 2012 which split responsibility for commissioning of health and care services amongst a number of bodies including NHS England, clinical commissioning groups and Local Authorities (see Figure 8 below), have been criticised for producing a fragmented system which makes the delivery of integrated services more challenging (Ham et al 2015a). Distribution of commissioning responsibility in this way also increases the need for stakeholder management across all organisations, making the delivery and implementation of transformation plans more difficult. Figure 8 Commissioning responsibility in England following the 2012 Health and Social Care Act (adapted from Naylor et al 2013)
“Meciendo/Rocking” by Gabriela Mistral What human trait does the wind show in the second stanza? What type of figure of speech is this? How does this use of figurative language contribute to the overall effect of the poem? How does the figure of speech of the sea in the first stanza and of the wind in the second stanza affect the mood of the poem? In “Meciendo/Rocking,” what natural sights and sound does the speaker describe? “I Wandered Lonely as a Cloud” by William Wordsworth Look at the first line of the poem. What figure of speech is being used? To what does the speaker compare the daffodils in the simile in lines 7-8? Why is this comparison a simile and not a metaphor? Notice in lines 11 and 12 the poem reads, “Ten thousand I saw at a glance / Tossing their heads in a sprightly dance.” What figure of speech is used here, and what helps you to identify it? In “I Wandered Lonely as a Cloud,” what natural sight does the speaker describe?
4 3 2 1 Score PRESENTATION Clarity of Writing Writing is crisp, clear, and succinct. The writer incorporates the active voice when appropriate and supports ideas with examples. Writing is generally clear, but unnecessary words are occasionally used. Meaning is sometimes hidden. Paragraph or sentence structure is too repetitive. It is hard to know what the writer is trying to express. Writing is convoluted. Reader is unable to follow the structure of the review Length Adheres to 5 – 10 page criteria. Exceed or does not meet 5 – 10 page criteria by ½ page or less. Exceed or does not meet 5 – 10 page criteria by ½ to 1 page. Exceed or does not meet 5 – 10 page criteria by more than 1 page. Grammar There is 1 or less grammatical error. There are 2 grammatical errors. There are 3 grammatical errors. There are 4 or more grammatical errors. TOTAL POINTS
8 Ways of Being Smart Intelligence area Is strong in: Likes to: Learns best through: Famous Examples: Verbal / Linguistic Reading, writing, telling stories, memorizing dates, thinking in words. Read, write, tell stories, talk, memorize, work at puzzles. Reading, hearing and seeing words, speaking, writing, discussing, and debating. T.S. Eliot, Maya Angelou, Virginia Woolf, Abraham Lincoln Math / Logical Math, reasoning, logic, problem-solving, patterns. Solve problems, ask and answer questions, work with numbers, experiment. Working with patterns and relationships, classifying, categorizing, working with the abstract. Albert Einstein, John Dewey, Susanne Langer Spatial Reading, maps, charts, drawing, mazes, puzzles, visualization. Design, draw, build, create, daydream, look at pictures. Working with pictures and colors, visualizing, using the mind’s eye, drawing Pablo Picasso, Frank Lloyd Wright, Georgia O’Keefe, Bobby Fischer Bodily / Kinesthetic Athletics, dancing, acting, crafts, using tools. Move around, touch and talk, use body language Touching, moving, processing knowledge through bodily sensations. Charlie Chaplin, Martina Navratilova, Magic Johnson Musical Singing, picking up sounds, remembering melodies and rhythms. Sing, hum, play instruments, listen to music. Rhythm, melody, singing, listening to music and melodies. Leonard Bernstein, Wolfgang Amadeus Mozart, Ella Fitzgerald Interpersonal Understanding people, leading, organizing, communicating, resolving conflicts, selling Have friends, talk to people, join groups. Sharing, comparing, relating, interviewing, cooperating Mohandas Ghandi, Ronald Reagan, Mother Teresa Intrapersonal Understanding self, recognizing strengths and weaknesses, setting goals. Work alone, reflect, pursue personal interests Working alone, doing projects, having space, reflecting Eleanor Roosevelt, Sigmund Freud, Thomas Merton Naturalist Understanding nature, making distinctions, identifying species. Be involved with nature. Working in nature, exploring living things, learning about nature. John Muir, Charles Darwin, Luther Burbank
Cranmer’s final chance and Samson’s in Judges 16:23–30 31 The Beatitudes 158–61 32 Sir Thomas Wyatt and Henry Howard, Earl of Surrey 162–67 33–34 Sir Philip Sidney 167–73 Analysis: Relating “Leave Me, O Love” with Colossians 3:2 and 1 John Analysis: Examples of biblical fables Application: Biblical characters exemplifying Renaissance virtues 35 Sir Walter Raleigh 173–77 Writing Rubric 3-1: Poem Analysis: Physical adversity often bringing spiritual prosperity Analysis: Biblical background in “The Pilgrimage” (Deut. 8:7–10; Isa. 12:2–3; etc.); biblical salvation; poetry’s value as a vehicle for spiritual truth Analysis: God as more than a spectator in human life Application: Developing readers’ discernment as one function of literature 36–38 Edmund Spenser 178–92 Introduction: Biblically evaluating Spenser’s worldview and the purpose of The Faerie Queene Analysis: Divine love the model of human love in Sonnet 68 (Eph. 1 John ; etc.); valuable biblical truths in The Faerie Queene Application: Arming against Satan’s temptations 39 Unit 3 Review 40 Unit 3A Test (except Shakespeare) 41–45 Midterm Review and Midterm Examination 46 Introduction to William Shakespeare Shakespeare’s Sonnets 193–98 Writing Rubric 3-2: Sonnet Introduction: Biblically evaluating Shakespeare’s major themes and worldview Analysis: Christians as moral idealists rather than cynics Analysis: The wisdom of making the body the servant of the soul; life in light of earthly transience; the fear of death (1 Cor. ) Application: Applying the scriptural themes found in the sonnets 47 Introduction to Macbeth Macbeth Act l, Scenes i–iv 199–211 Overview: The worthless rewards of sin (Mark –37); the play’s effectiveness due to its biblical background; the consequences of defying authority and of ingratitude (Rom. )
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Section B: Poetry You are advised to spend about 45 minutes on this section. Answer one question. AQA Anthology: Poems Past and Present Power and Conflict The poems you have studied are: Percy Bysshe Shelley Ozymandias William Blake London William Wordsworth The Prelude: stealing the boat Robert Browning My Last Duchess Alfred Lord Tennyson The Charge of the Light Brigade Wilfred Owen Exposure Seamus Heaney Storm on the Island Ted Hughes Bayonet Charge Simon Armitage Remains Jane Weir Poppies Carol Ann Duffy War Photographer Imtiaz Dharker Tissue Carol Rumens The émigree Beatrice Garland Kamikaze John Agard Checking Out Me History Compare the ways poets present ideas about pride in ‘Ozmandias’ and in one other poem from ‘Power and Conflict’ [30 marks] Ozymandias I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shatter’d visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamp’d on these lifeless things, The hand that mock’d them and the heart that fed; And on the pedestal these words appear: ‘My name is Ozymandias, king of kings:
Compare the ways poets present the effect of conflict in ‘The Charge of the Light Brigade’ and in one other poem from ‘Power and Conflict’ [30 marks] The Charge of the Light Brigade 1. Half a league, half a league, Half a league onward, All in the valley of Death Rode the six hundred. ‘Forward, the Light Brigade! Charge for the guns!’ he said: Into the valley of Death Rode the six hundred. 2. ‘Forward, the Light Brigade!’ Was there a man dismay’d? Not tho’ the soldier knew Some one had blunder’d: Theirs not to make reply, Theirs not to reason why, Theirs but to do and die: Into the valley of Death Rode the six hundred. 3. Cannon to right of them, Cannon to left of them, Cannon in front of them Volley’d and thunder’d; Storm’d at with shot and shell, Boldly they rode and well, Into the jaws of Death, Into the mouth of Hell Rode the six hundred. 4. Flash’d all their sabres bare, Flash’d as they turn’d in air Sabring the gunners there, Charging an army, while All the world wonder’d: Plunged in the battery-smoke Right thro’ the line they broke; Cossack and Russian Reel’d from the sabre-stroke Shatter’d and sunder’d. Then they rode back, but not Not the six hundred.
“Jekyll and Hyde is a novel about science Vs religion,” how much do you agree with this statement? How does Stevenson use setting to tell the story of Jekyll and Hyde? How does Stevenson present duality in Jekyll and Hyde? How does Stevenson use Utterson to demonstrate Victorian life?
KS4 English Literature Know your stuff… Animal Farm – Characters Mr Jones – Drunken owner of Animal Farm. Embodies the tyranny of man. Mr Pilkington – Owner of Foxwood. Sells land to Napoleon and praises his methods. Mr Frederick – Cutthroat business man. Trades with and manipulates Napoleon. Owner of Pinchfield. Mr Whymper – Sly, greedy and self-interested. Solicitor who aids Napoleon’s tyranny Moses – Tamed raven of Jones. Spreads the ideas of Sugarcandy Mountain.