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Andrew McCluskey

The Essay, an Exercise in Doubt - NYTimes.com - 2 views

  • The Essay, an Exercise in Doubt
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    Phillip Lopate writes about the virtue of self-doubt and how it (self-doubt) is built into essay writing as a form.
anonymous

Shift to the Future: What Kids Say About Blogging - 6 views

    • anonymous
       
      Writing becomes authentic and important because it is something that a 'real' audience is going to see!
  • The cool thing about this is that family members can far more easily be involved in her learning and in providing regular feedback than they could be if her writing was only contained in the traditional paper journal.
    • anonymous
       
      What an easy way to have parental involvement!  This would solve some of that issue of parents not knowing what their children are doing at school or what is going on when the child gets older and more close-lipped.
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    • anonymous
       
      Don't we ALL benefit from somebody interacting with us and commenting on our thinking?
  • Grandparents and other relatives rarely have an opportunity to observe or see what their grandchildren are doing in school. The student blogs also allows them to be a part of our classroom community.
    • anonymous
       
      What a wonderful way to connect to folks who are outside the realm of the classroom but still have an interest and care about the student!  :)
    • anonymous
       
      Looked at this class blog.  Wouldn't this be a wonderful exercise?  The teacher could blog, the students could blog on personal level but also have a class blog which is a place for inspiration for writing exercises (thinking like a language arts/writing/reading teacher here) when students don't have their own inspiration/focus for creative writing.   This blog would also be a great place to steal ideas!  :)
    • anonymous
       
      When I visit with teachers and suggest they have students create a web site or blog as an educational tool, often the teacher will tell me he/she doesn't have time to read/monitor that.  However, most teachers have students complete writing assignments and turn them in for a grade - lab reports, essays, reports, etc.  So, wouldn't this also be a way for students to create such assignments?
    • anonymous
       
      This article shows the versatility of the 3rd grade students' blogs - one reported on planet studied, one on animal, etc.  So, it wouldn't have to just be a place for creative writing/online writer's notebook!
atressler3

Guideline on Some Questions and Answers about Grammar - 36 views

  • Grammar names the types of words and word groups that make up sentences not only in English but in any language
  • sentence structure
  • conventions and style of language.
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  • apply knowledge of language structure, language conventions (e.g., spelling and punctuation)"
  • language use, patterns, and dialects
  • Students benefit much more from learning a few grammar keys thoroughly than from trying to remember many terms and rules.
  • Experiment with different approaches
  • show students how to apply it not only to their writing but also to their reading and to their other language arts activities.
  • If they know how to find the main verb and the subject, they have a better chance of figuring out a difficult sentenc
  • Traditional drill and practice will be the most meaningful to students when they are anchored in the context of writing assignments or the study of literary models
  • apply it to authentic texts.
  • Try using texts of different kinds, such as newspapers and the students' own writing, as sources for grammar examples and exercises.
  • entence combining: students start with simple exercises in inserting phrases and combining sentences and progress towards exercises in embedding one clause in another.
  • practice using certain subordinate constructions that enrich sentences.
  • All native speakers of a language have more grammar in their heads than any grammar book
  • If a word can be made plural or possessive, or if it fits in the sentence "The _______ went there," it is a noun. If a word can be made past, or can take an -ing ending, it is a verb
  • whole sentence or a fragment
  • verb phrase
  • subject
  • pronoun f
  • Students can circle the sentence subjects in a published paragraph, observe this pattern at work, and then apply it to their own writing.  
  • Most sentences start with information that is already familiar to the reader, such as a pronoun or a subject noun that was mentioned earlier.
  • end focus.
Laura Bowen

The Fifty-Word Assignment - 179 views

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    Idea for teaching students to write with clarity and concision - write a fifty word sentence summarizing the week's reading. "A single-sentence exercise with a finite word limit counters students' proclivity for aerating their prose with superfluities."
D. S. Koelling

Plagiarizing Yourself - Advice - The Chronicle of Higher Education - 31 views

shared by D. S. Koelling on 05 Oct 10 - No Cached
msovoice liked it
  • Her presentation contained a slide that said academic dishonesty included plagiarizing yourself—i.e., taking a paper you had written for one course and turning it in for credit in another course. That, she explained, constituted a dishonest representation of your work for a course. "Unless," one of my colleagues chimed in at that point, "you're an academic, and you're presenting the same idea at a bunch of different conferences. Then it's clearly not dishonest."
  • counterargument
  • So does the injunction against plagiarizing from yourself fall into the category of one of those hypocritical rules that we like to impose on our children: Drinking soda every day would be bad for your health, honey, but it's fine for me? If a categorical difference exists here between what we do and what we forbid our students to do, I confess, I have a hard time seeing it.
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  • "Are we allowed to use ideas from our writing exercise to help us write this paper?" she asked. "Of course," I said. "That was the whole point of the writing exercise—to get you a head start in thinking about how you want to approach your paper." "OK," she said. And then after a brief pause: "Because at orientation they told us we weren't allowed to use our own work twice." "Ah," I said. "That doesn't really apply in this case. And anyway, I don't really mind, in this course, if you take a paper that you've written for another course and revise it for an assignment in here. You just have to make sure that what you turn in fulfills my specific assignment. Other professors might feel differently, though. So I would always ask before you tried to do that."
  • So why deprive our students of the opportunity to learn those same lessons, by recycling a particular paper from one course to the next?
  • I can foresee one more objection: What's to prevent a student from recycling the same paper from course to course to course? Students who did so would lose the valuable opportunity to practice their writing—and writing, like any other intellectual or physical skill, requires lots of practice. But—practically speaking—the opportunity to reuse a paper might arise only once or twice in a student's career, thanks to the diversity of our course assignments and disciplines.
  • First, do you see a problem with allowing students to revise a paper or presentation created for one course and turn it in for another one, assuming they can make it fit the assignment for the new course? Does this count as plagiarism? Second, are there any courses or programs that build such a process into the curriculum—requiring or encouraging students to take work from one course and adapt it for another? I encourage readers to offer their ideas. Of course if you have published or presented elsewhere on this subject, you should still go ahead and share your recycled idea. I will leave it up to you to decide whether to feel guilty about that.
Thieme Hennis

Help Write a Children's Book Online at P2PU - 16 views

  • a new P2PU course that I am facilitating, Crowdsourced Art: A Participatory Exercise in Collaboration and Collective Creativity.
  • creativity should not be – and was never meant to be – the prerogative of a few chosen individuals.
  • This course will be an introduction to crowdsourced art, and an experiment in collective creativity. We’ll learn about crowdsourced art – the central topic of my PhD research – and we’ll work together to develop a children’s book about a snail called Hashtag and his adventures on the Internet.
UN English Programme

Purdue University On-line Writing Lab (OWL) - 0 views

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    The Purdue University On-line Writing Lab (OWL) has many different materials for English Language students and teachers, including resource pages, printer-friendly handouts and exercises.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
D. S. Koelling

The Liberal Arts Are Work-Force Development - Do Your Job Better - The Chronicle of Hig... - 35 views

  • Now consider that, according to the American Association of Community Colleges, about half of all freshmen and sophomores are enrolled at the nation's 1,300 two-year colleges, and many of those students transfer to four-year institutions. For a large percentage of people who earn bachelor's degrees, then, the liberal-arts portion of their education was acquired at a two-year college. Next, factor in all of the community-college students who enter the work force after earning two-year degrees or certificates, and whose only exposure to the liberal arts occurred in whatever core courses their programs required. The conclusion becomes obvious: Two-year colleges are among the country's leading providers of liberal-arts education, although they seldom get credit for that role.
  • Employers rank communication and analytical skills among the most important attributes they seek in new hires, according to the National Association of Colleges and Employers. Perhaps those of us who teach those very skills at community colleges should embrace the integral role we play in preparing the nation's workers rather than rejecting the idea of work-force development as somehow beneath us.
  • More important, this new perspective could have a positive effect on student success. If we come to see ourselves as preparing students not just for transfer but ultimately for the work force, students may be more likely to understand the relevance of the skills that we teach them and better able to use those skills for some purpose other than just getting a passing grade.
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  • Require lots of writing. As the management guru Peter Drucker argued, communication is the one skill required of all professionals, regardless of field. "As soon as you take one step up the career ladder," he said, "your effectiveness depends on your ability to communicate your thoughts in writing and in speaking."
  • Clearly, one of the best things we can do for students is to require them to write—a lot.
  • Focus on critical thinking. A common complaint of employers, as reflected in the NACE survey, is that many workers have difficulty thinking for themselves. They may be thoroughly trained, having mastered all of the concepts in the textbooks, but, inevitably, situations arise that weren't covered in the books. When that happens, the ability to think critically, independently, and creatively becomes indispensable.
  • Bring the real world into the classroom. Another strategy we can adopt, if we want our courses to be more relevant, is to make our class discussions, case studies, experiments, and assignments as real-world-based as possible. For example, in my composition courses, I not only allow students to choose their own essay topics, but I also encourage them to write about issues related to their prospective majors. I also assign reading (in addition to the old textbook standbys) from newspapers, popular magazines, even the Internet.
  • Make the connection. Take advantage of every opportunity to connect what students are doing in class with what they will be doing some day as employees. My students hear the term "the real world" so much that, by the middle of the term, they're starting to roll their eyes. But it's important for them to understand that the work we're doing now in class isn't just a series of meaningless exercises, another set of hoops for them to jump through on their way to a degree. They're going to have to do these things for real one day—describe processes, do research to find solutions, draw comparisons—and my course may be the last time anyone ever actually teaches them how.
anonymous

Silk - 81 views

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    Have students to create visual works of art online. Silk is an interactive site where students can drag their mouse around on the page to create beautiful weaving & whirling designs. Drawing lines on the screen will add color to the moving art, & by speeding up or slowing down their movements the effect will change. Students can choose between 6 different colors, & 3 different modes of symmetry. Students can share their creation with a simple link. Have students describe their unique artwork as a description & creative writing exercise. Also available as an app for the iPad.
Steven Szalaj

BBC News - Active brain 'keeps dementia at bay' - 37 views

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    Results of a study published in Neurology that adds weight to the idea that dementia onset can be delayed by lifestyle factors such as reading writing, exercise and diet.
Beth Panitz

Writing Stories - Stenhouse Publishers - 49 views

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    Ideas, Exercises, and Encouragement for Teachers and Writers of All Ages. Free online preview of the entire book.
Jorge Alhambra

Funny English Skills - 4 views

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    The aim of this wiki is to build a communication space with my students. It offers them the possibility of working listening, writing and speaking skills, as well as grammar and vocabulary. It will enable the students to get more knowledge about the British and American culture. The Ampliación 1º Bachillerato pupils will have to do all the exercises whereas 1º and 2º Bachillerato students will work voluntarily and their work would be considered as a follow up. It could improve their marks.
Melinda Christianson

Purdue OWL: Paraphrase Exercises - 196 views

  • Paraphrase: Write it in Your Own Words
    • Mr. Hubbard
       
      Note the paraphrasing exercises off to the left hand side
    • Melinda Christianson
       
      Thank you!
Beth Panitz

Writing Stories - Stenhouse Publishers - 1 views

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    Free Online Preview of an amazing book. "Ideas, Exercises, and Encouragement for Teachers and Writers of All Ages"
Deborah Baillesderr

FlexMath - Home - 98 views

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    This site is great! It includes objectives, math vocab, modeling problems, exercises, differentiated problems, student self-eval, writing component, and homework. Best of all it's FREE!
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

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    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
Kate Pok

Intersections: History and New Media: Wiki in the History Classroom - 5 views

  • Students did not agree on the merits of the wiki. Some were deeply offended when other students eliminated or modified their contributions. Others found the chance to pick apart other’s words and conclusions exhilarating. Regardless, most students seemed to grasp the important lesson I hoped to share: that history is the conversation we have about the past. History is about the authorial choices scholars make. History is about the evidence included and the evidence excluded. By asking students to participate in a joint-writing exercise, they were compelled to pay attention to the language others used, the phrasings and structure employed, the anecdotes emphasized, the facts obscured. I told them the story of an undergraduate English professor I had who spent an entire class session discussing why Shakespeare began Macbeth with the word “when”. Words matter. Words shape arguments. They determine meaning, and they form our view of the world around us, including our view of the history of the world around us. Students also came to appreciate that history was not a bag of facts we historians force them to memorize. Instead, as Appleby, Hunt, and Jacob suggest, history is the product of that collective effort of truth seeking.
  • I still caution students about using Wikipedia. But I think the wiki can help our students see themselves as part of that democratic conversation so important to our profession. Throwing their ideas into the ring for others to challenge forces students to defend their ideas, modify their conclusions, and reconsider their assumptions. The wiki, while not perfect, may help us change the way our students think about history. It may help them be more attentive to language and argument. Importantly, it may help them value civil discourse as a civic virtue. These are good lessons for history students and for their professors. —Kevin B. Sheets is associate professor of history at the State University of New York, College at Cortland and project director of the “American Dream Project,” a Teaching American History grant-based project in upstate New York. He regularly teaches courses in historical methods and American intellectual and cultural history.
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    Great description of the merits of using a wiki in a classroom.
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