he thought fills her with an uneasy pride.
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» Voki Bright ideas - 0 views
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Voki is a resource that enables users to create a talking avatar a fun way to jazz up (dare I say pimp?) your blog.
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McSweeney's Internet Tendency: Hamlet (Facebook News Feed Edition). - 0 views
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My English Dept. says I gather way too many Shakespeare resources, but I just find them to be so prevalent on the web. This one is from one of my all time favorite websites.
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CUEcast on blip.tv Dr Robert Marzano on IWB and other technology - 0 views
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Research that says clearly IWBs used by experienced confident teachers achieves a significant increase in students understanding.
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Merriam-Webster Online - 0 views
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What are the origins of the English Language? The history of English is conventionally, if perhaps too neatly, divided into three periods usually called Old English (or Anglo-Saxon), Middle English, and Modern English. The earliest period begins with the migration of certain Germanic tribes from the continent to Britain in the fifth century A.D., though no records of their language survive from before the seventh century, and it continues until the end of the eleventh century or a bit later. By that time Latin, Old Norse (the language of the Viking invaders), and especially the Anglo-Norman French of the dominant class after the Norman Conquest in 1066 had begun to have a substantial impact on the lexicon, and the well-developed inflectional system that typifies the grammar of Old English had begun to break down. The following brief sample of Old English prose illustrates several of the significant ways in which change has so transformed English that we must look carefully to find points of resemblance between the language of the tenth century and our own. It is taken from Aelfric's "Homily on St. Gregory the Great" and concerns the famous story of how that pope came to send missionaries to convert the Anglo-Saxons to Christianity after seeing Anglo-Saxon boys for sale as slaves in Rome: Eft he axode, hu ðære ðeode nama wære þe hi of comon. Him wæs geandwyrd, þæt hi Angle genemnode wæron. Þa cwæð he, "Rihtlice hi sind Angle gehatene, for ðan ðe hi engla wlite habbað, and swilcum gedafenað þæt hi on heofonum engla geferan beon." A few of these words will be recognized as identical in spelling with their modern equivalents-he, of, him, for, and, on-and the resemblance of a few others to familiar words may be guessed-nama to name, comon to come, wære to were, wæs to was-but only those who have made a special study of Old English will be able to read the passage with understanding. The sense of it is as follows: Again he [St. Gregory] asked w
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shared by Dana Huff on 08 Jul 12
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Books That Shaped America - National Book Festival (Library of Congress) - 16 views
www.loc.gov/...books-that-shaped-america
literature books american literature america american english
shared by Dana Huff on 08 Jul 12
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Katie Weis liked it
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The Library of Congress shares an exhibition of "Books that Shaped America." Librarian of Congress James H. Billington says that the list is "intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not."
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Opinion | When We Consent, We Shouldn't Feel Terrible After, Right? - The New York Times - 0 views
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Mrs. Dutta Writes a Letter - 98.04 - 0 views
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What thought exactly? Is there ambiguity here between the thought of her d-in-law's light skin and her roasted cumin skin?
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while disembodied TV laughter echoes through the room
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Mrs. Basu
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Sagar
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Shyamoli
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Mrinalini
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Pradeep
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bent over a model plane.
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Molli
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labor strike, everything closed down, not even the buses running. But you can't really blame them, can you? After all, factory workers have to eat too.
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Are you happy in America?
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Mrs. Dutta knows that Mrs. Basu, who has been her closest friend since they both moved to Ghoshpara Lane as young brides, cannot be fobbed off with descriptions of Fisherman's Wharf and the Golden Gate Bridge, or even with anecdotes involving grandchildren. And so she has been putting off her reply, while in her heart family loyalty battles with insidious feelings of -- but she turns from them quickly and will not name them even to herself.
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What is Mrs. D. struggling with? What are her concerns? What are her "insidious feelings"?
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children being allowed to close their doors against their parents.
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though the minty toothpaste does not leave her mouth feeling as clean as does the bittersweet neem stick she's been using all her life.
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"But, Mom, she's in there. She's been there forever... " Mrinalini says.
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Whenever she lifted her hand to him, her heart was pierced through and through. Such is a mother's duty.
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Conflicting ideas of corporal punishment and the role or place (?) of familial, maternal bonds.
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Mrs. Dutta bends over the sink, fists tight in the folds of her sari. Hard with the pounding in her head to think what she feels most -- anger at the children for their rudeness, or at Shyamoli for letting them go unrebuked. Or is it shame she feels (but why?), this burning, acid and indigestible, that coats her throat in molten metal?
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alu dum
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the meat safe
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ground fresh by Reba, the maid,
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coriander, cumin, cloves, black pepper, a few red chilies for vigor
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Proper Indian food
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"cholesterol," "all putting on weight," "she's spoiling you."
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she might as well admit it a disappointment.
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For this she blames, in part, the Olan Mills portrait. Perhaps it was foolish of her to set so much store by a photograph, especially one taken years ago. But it was such a charming scene -- Mrinalini in a ruffled white dress with her arm around her brother, Pradeep chubby and dimpled in a suit and bow tie, a glorious autumn forest blazing red and yellow behind them. (Later Mrs. Dutta was saddened to learn that the forest was merely a backdrop in a studio in California, where real trees did not turn such colors.)
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A strange concept, a day set aside to honor mothers. Did the sahibs not honor their mothers the rest of the year, then?)
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others, who thought of her as a shy, sheltered woman
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being mistress of her own life
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Even in bed she'd been at the center of the household,
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Therefore she had no reason to get well.
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even though they have put away, somewhere in the back of a closet, the vellum-bound Ramayana for Young Readers that she carried all the way from India in her hand luggage.
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Indian Shyamoli, the docile bride she'd mothered for a month before putting her on a Pan Am flight to join her husband
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And being the only Indian family on the street, we have to be extra careful. People here sometimes"
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She knew she should not store unclean clothes in the same room where she kept the pictures of her gods. That would bring bad luck. And the odor.
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A basic metaphysical distinction for her: clean, holy versus dirty, profane. And how it works in her world versus an American's world.
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wisps of lace, magenta and sea- green and black, that were her panties,
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he wished the ground would open up and swallow her, like the Sita of mythology.
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"No, no, no, clothes and all is no work for the man of the house. I'll do it."
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So she has taken to washing her clothes in the bathtub when she is alone
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Ignorance, as Mrs. Dutta knows well from years of managing a household, is a great promoter of harmony
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Was Dickens's Christmas Carol borrowed from Lowell's mill girls? - Ideas - The Boston G... - 0 views
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Dickens had encountered that narrative trope in the stories written by the Lowell mill girls, who typically published either anonymously or under pseudonyms like “Dorothea” or “M.” In one anonymous story called “A Visit from Hope,” the narrator is “seated by the expiring embers of a wood fire” at midnight, when a ghost, an old man with “thin white locks,” appears before him. The ghost takes the narrator back to scenes from his youth, and afterward the narrator promises to “endeavor to profit by the advice he gave me.” Similarly, in “A Christmas Carol,” Scrooge is sitting beside “a very low fire indeed” when Marley’s ghost appears before him. And, later, after Scrooge has been visited by the ghosts of Christmases Past, Present, and Future, he promises, “The spirits of all Three shall strive within me. I will not shut out the lessons that they teach.”
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That’s not how the scholars see it. Literary borrowing, even quite detailed borrowing, was accepted practice at the time—“It was just a different way of looking at things back then,” says Archibald. (“American Notes,” for instance, includes many pages of writing by the famed 19th-century physician Samuel Gridley Howe, all without attribution, and apparently without any thought by Dickens that he was doing something improper.)
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Jim Burke: English Companion - How To Read an Image - 0 views
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The age demanded an image. -Ezra Pound Rationale In our world of multi- and visual media, we must expand our notion of what a text is and how we must read it. As more texts are used to convey information print once did, we must bring to these visual texts critical literacies that will help us construct meaning from their elements. The following questions are designed to help readers make sense of images they encounter in various contexts. Ask the Following Questions * Why are we looking at this? * What are we looking for? * How should we look at this? * What choices did the artist make and how did they affect its meaning? * Is this image in its original state (i.e., no manipulation or "doctoring")? * What are the different components in this image? * How are they related to each other? * What is the main idea or argument the image expresses? * In what context or under what conditions was this image originally created? Displayed? * Who created it? * Was it commissioned? (If so, by whom? And for what purpose?) * What was the creator trying to do here? (i.e., narrate, explain, describe, persuade-or some combination?) * Can you find any tension or examples of conflict within the image? If so, what are they? What is their source? How are they represented? * Do you like this image? (Regardless of your answer: Why?) * How would you describe the artist's technique? * What conventions govern this image? How do they contribute to or detract from its ability to convey its message? * What does it consist of? * Why are parts arranged the way they are? * What is the main idea behind this image? * What does this image show (i.e., objectively; see Vietnam Memorial image) * What does it mean (subjectively; see Vietnam Memorial image) * Is this presented as an interpretation? Factual record? Impression? * What is the larger context of which this image is a part? * What is it made fro -
The age demanded an image. -Ezra Pound Rationale In our world of multi- and visual media, we must expand our notion of what a text is and how we must read it. As more texts are used to convey information print once did, we must bring to these visual texts critical literacies that will help us construct meaning from their elements. The following questions are designed to help readers make sense of images they encounter in various contexts. Ask the Following Questions * Why are we looking at this? * What are we looking for? * How should we look at this? * What choices did the artist make and how did they affect its meaning? * Is this image in its original state (i.e., no manipulation or "doctoring")? * What are the different components in this image? * How are they related to each other? * What is the main idea or argument the image expresses? * In what context or under what conditions was this image originally created? Displayed? * Who created it? * Was it commissioned? (If so, by whom? And for what purpose?) * What was the creator trying to do here? (i.e., narrate, explain, describe, persuade-or some combination?) * Can you find any tension or examples of conflict within the image? If so, what are they? What is their source? How are they represented? * Do you like this image? (Regardless of your answer: Why?) * How would you describe the artist's technique? * What conventions govern this image? How do they contribute to or detract from its ability to convey its message? * What does it consist of? * Why are parts arranged the way they are? * What is the main idea behind this image? * What does this image show (i.e., objectively; see Vietnam Memorial image) * What does it mean (subjectively; see Vietnam Memorial image) * Is this presented as an interpretation? Factual record? Impression? * What is the larger context of which this image is a part? * What is it made fro
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How to Create Nonreaders - 11 views
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all a teacher can do – is work with students to create a classroom culture, a climate, a curriculum that will nourish and sustain the fundamental inclinations that everyone starts out with: to make sense of oneself and the world, to become increasingly competent at tasks that are regarded as consequential, to connect with (and express oneself to) other people.
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I once sat in on several classes taught by Keith Grove at Dover-Sherborn High School near Boston and noticed that such meetings were critical to his teaching; he had come to realize that the feeling of community (and active participation) they produced made whatever time remained for the explicit curriculum far more productive than devoting the whole period to talking at rows of silent kids. Together the students decided whether to review the homework in small groups or as a whole class. Together they decided when it made sense to schedule their next test. (After all, what’s the point of assessment – to have students show you what they know when they’re ready to do so, or to play “gotcha”?) Interestingly, Grove says that his classes are quite structured even though they’re unusually democratic, and he sees his job as being “in control of putting students in control.”
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The first is that deeper learning and enthusiasm require us to let students generate possibilities rather than just choosing items from our menu; construction is more important than selection.
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Fall 2010 article by Alfie Kohn about things that don't work, and things that do for encouraging a real LOVE of reading. Includes some challenging comments about motivation and traditional methods for teaching reading.
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The Writing Revolution - Peg Tyre - The Atlantic - 0 views
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“Who could have known that, unless someone taught them?”
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Some writing experts caution that championing expository and analytic writing at the expense of creative expression is shortsighted.
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formulaic instruction
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foster creativity
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to find their voice
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The school’s success suggests that perhaps certain instructional fundamentals—fundamentals that schools have devalued or forgotten—need to be rediscovered, updated, and reintroduced. And if that can be done correctly, traditional instruction delivered by the teachers already in classrooms may turn out to be the most powerful lever we have for improving school performance after all.
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Research has shown that thinking, speaking, and reading comprehension are interconnected and reinforced through good writing instruction
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writing
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that I could say and write the things I know