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allbookedup

Literature-Map - The tourist map of literature - 10 views

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    If you like an author, put their name in and it will give you a word cloud of other authors that might interest you.
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    a network of similar authors.
Margaret FalerSweany

Text to Text | 'The Giver' and 'The Dark Side of Young Adult Fiction' - NYTimes.com - 59 views

  • ideas for connecting it to a larger discussion about the popularity of dystopian literature, as well as options for going further
  • Key Questions: Why are dystopian novels so popular among young adults right now?
  • What can dystopian fiction show or teach us that, perhaps, other kinds of stories cannot
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  • In this forum, seven experts discuss the questions, Why do bestselling young adult novels seem darker in theme now than in past years? What’s behind this dystopian trend, and why is there so much demand for it?
  • Connecting “The Giver” to Other Dystopian Literature
  • Censorship and the Novel
  • An Ending for “The Giver”
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    New York Times discussion of why young adults read dystopian stories such as "The Giver." The Author talks about the book and a panel of 8 experts discuss dystopian literature. Exercises are provided that students can use when studying such stories and novels.
Virginia Meadow

eChalk: Teaching resources for interactive whiteboards and data projectors - 2 views

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    Powerful interactive resources designed for whole-class teaching. Online educational games, classroom resources and lesson activities for interactive whiteboards and data projectors. Put some fun into your lessons with our exceptional science, maths, English language, literature, history, music physical education and modern foreign languages software." />/css/resourceList.css
anonymous

The Center for Fiction - 114 views

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    Literature for adults, YA, and kids--videos on interviews with authors, sections on For Writers and Audio & Video, and more for booklovers of all ages.
Jennifer Diaz

13 Strategies to Improve Student Classroom Discussions - 149 views

  • These 13-teacher and expert-tested strategies will strengthen your students' ability to find and use evidence from any text
  • Texts that inspire questions encourage students to return to the text and find support for their answers
  • starting with one overarching focus question
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  • Require students to have evidence ready at the start of the discussion
  • "prove it"
  • evidence will actually open up a text to different interpretations
  • The challenge is getting students to expand and explain. To get students to explain why they choose a piece of evidence, provide them with a structure that moves from evidence to interpretation. Williams' students use a graphic organizer with three columns: They write their answer in the first column, note textual evidence in the second, and explain their evidence in the third.
    • Jennifer Diaz
       
      I want to do this!
  • Use sentence starters strategically
  • In the text ... the author mentions ...
  • the author uses this evidence to ... this lets us know that ...
  • Give students enough time to flip through and find just the right piece of evidence. If other students are getting antsy, choose one of your always-ready students to share, then loop back to the student who needed time with the text
    • Jennifer Diaz
       
      Good idea to keep the pace moving, while providing enough time to find better evidence.
    • deniseahlquist
       
      And if you encourage a collaborative atmosphere, having students ALL look for evidence related to each person's idea will mean they are all engaged in searching whenever anyone makes a claim. Either choose someone who has found it, or have them mark the page and keep searching for more evidence. Then have students ALL GO to the passage cited, so they can closely follow and respond with additional or conflicting evidence.
  • "Just because there's more than one right answer," says Riley, "doesn't mean there's no wrong answer."
    • deniseahlquist
       
      Part of what students do when they all look for evidence for each idea is to learn to weigh evidence for competing ideas and sift out "weaker" or unsupported answers from "stronger" claims. Brainstorming an idea that later doesn't pan out should not e seen as bad or wrong, but more accurately as the way idea-generating and sifting actually happens in many situations.
  • According to page
  • create an anchor chart
    • Jennifer Diaz
       
      Create and authentic anchor chart of student/teacher generated starters and prompts.
  • Listen for how students personalize the discussion, and encourage them to develop their own voice.
  • go back to the text
  • They answer the focus question a second time, explain whether or not they changed their answers, and reflect on how the evidence brought up during discussion impacted their thinking.
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    Great ideas for 6th grade response to literature discussion and writing.
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    I haven't taught sixth grade for 3 1/2 years now, but if I ever go back to ms, I'd incorporate this into my weekly plans. One way I get my second graders to grow their thinking is by having them respond to one another using the following prompts:  I agree with the part about…  Going back to what you said about…  One thing I noticed…  One thing I pictured…  It reminded me of…  I am not sure what you are saying. Could you say it in another way?  I agree with what you are saying because…  What you just said matches what is in my mind because…  I hear what you are saying, but I see it differently because…  If what you said is true, is it not also true that…  That is true, but… Or - That is true, and…  Could you say more?  Could you give me an example?  I would like to add on to what _________ said.  I have an example of what you just said.  I wonder why…  I was surprised to see…  Another thing that goes with that is…  So are you saying…
anonymous

Author and Illustrator Birthdays | Through The Looking Glass Children's Book Review - 56 views

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    Listed by months, authors and illustrators birth dates are given. Use the search feature to find titles created by these people.
anonymous

Grove Art: Subject Guide in Oxford Art Online - 12 views

  • the Renaissance was a period when scholars and artists began to investigate what they believed to be a revival of classical learning, literature and art. For example, the followers of the 14th-century author Petrarch began to study texts from Greece and Rome for their moral content and literary style. Having its roots in the medieval university, this study called Humanism centered on rhetoric, literature, history and moral philosophy.
    • anonymous
       
      This 'rebirth' of classical thought and investigation led to many advances in the areas of art, science, medicine, and literature.
    • anonymous
       
      Make a list of three specific historical people from the article to share with the class.
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
Mark Glynn

(32) (PDF) An Overview and Study on the Use of Games, Simulations, and Gamification in ... - 14 views

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    "This article examines the use of both game-based learning (GBL) and gamification in tertiary education. This study focuses specifically on the use of games and/or simulations as well as familiarity with gamification strategies by communication faculty. Research questions concentrate on the rate, frequency, and usage of digital and non-digital games and/or simulations in communication courses, as well as instructor familiarity with gamification. A survey was constructed with questions emerging from the game-based learning and gamification literature. It was distributed to communication faculty at public institutions of higher education in a southern state. In this context, the author argues that while the term gamification is novel, the approach is not. Based on the results, current gamification strategies appear to be a repackaging of traditional instructional strategies."
Brianna Crowley

Academy of Achievement Main Menu - 3 views

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    videos, podcasts, etc. of people from around the world who have made various achievements
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    This website has interviews for nearly any influential person, author, writer, or history-maker that you would ever want to share with students! Video clips are downloadable for embedding in presentations. Fantastic resource!
Candy Boyer

Tom Wolfe, Author and Satirist of America, Dies at 88 | Time - 4 views

  • American maverick who insisted that the only way to tell a great story was to go out and report it.
  • journalism could offer the kinds of literary pleasure found in books.
  • Wolfe scorned the reluctance of American writers to confront social issues and warned that self-absorption and master’s programs would kill the novel. “So the doors close and the walls go up!” he wrote in his 1989 literary manifesto, “Stalking the Billion-Footed Beast.” He was astonished that no author of his generation had written a sweeping, 19th century style novel about contemporary New York City, and ended up writing one himself, “The Bonfire of the Vanities.”
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  • “My contention is that status is on everybody’s mind all of the time, whether they’re conscious of it or not,”
  • “new journalism” combined the emotional impact of a novel, the analysis of the best essays, and the factual foundation of hard reporting. He mingled it all in an over-the-top style that made life itself seem like one spectacular headline.
  • pointed look at fund-raising for the Black Panther Party by Leonard Bernstein and other wealthy whites.
  • And no one more memorably captured the beauty-and-the-beast divide between the Beatles and the Rolling Stones: “The Beatles want to hold your hand,” he wrote, “but the Rolling Stones want to burn down your town!”
  • s a child, he did rewrites of the Authurian legends and penned biographies of his heroes.
  • unsuccessful pitching tryout with the New York Giants before
  • The Washington Post, where he won Washington Newspaper Guild awards in 1960 for his coverage of U.S.-Cuban affairs and a satiric account of that year’s Senate civil rights filibuster.
  • The next year, Wolfe was assigned to cover a “Hot Rod & Custom Car” show. He completed a story, the kind “any of the somnambulistic totem newspapers in America would have come up with.” But he knew there was a much richer, and longer story to tell, one about a thriving subculture that captured the post-World War II economic boom and the new freedom to “build monuments” to one’s own style. No newspaper could contain what Wolfe had in mind, so he turned to Esquire magazine, wrote up 49 pages and helped give birth to a new kind of reporter. “For the who-what-where-when-why of traditional journalism, he has substituted what he calls ‘the wowie!'” according to a 1965 Newsweek story.
  • “A Man in Full” turned Wolfe’s smirk to Atlanta society. His 2004 novel, “I Am Charlotte Simmons,” looked at life on a fictional elite college campus rife with drinking, status obsession and sex.
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    includes short VIDEO "Wolfe scorned the reluctance of American writers to confront social issues and warned that self-absorption and master's programs would kill the novel."
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
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  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
Sharin Tebo

5 Reasons Why Reading Conferences Matter - Especially in High School English | Three Te... - 57 views

  • Reading Conferences
  • Every child needs one-on-one conversations with an adult as often as possible.
  • One way to show our adolescent students that we care is to talk with them. And face-to-face conversations about books and reading is a pretty safe way to do so, not to mention that we model authentic conversations about reading when we do.
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  • The more we grow in empathy, the better relationship we’ll have with our friends, our families and all other people we associate with — at least the idealist in me will cling to that hope as I continue to talk to students about books and reading.
  • circles about engagement.
  • Try questions like: How’s it going? (Thanks, Carl Anderson) Why did you choose this book? Do you know anyone else who has read this book? What’d she think? How’d you find the time to read this week? What’s standing in the way of your reading time?
  • Try questions like: What character reminds you of yourself or someone you know? What part of the story is the most similar/different to your life? Why do you think the author makes that happen in the book? What does he want us to learn about life? How does this story/character/conflict/event make you think about life differently?
  • when I take the time to talk to each student individually, and reinforce the skill in a quick chat, the application of that skill some how seeps into their brains much deeper.
  • Try questions like: Tell me about _____ that we learned in class today. How does that relate to your book/character? Remember when we learned _____, tell me how/where you see that in your book. Think about when we practiced ___, where does the author do that in your book? You’ve improved with ___, how could you use that skill for _______?
  • We must provide opportunities for our students to grow into confident and competent readers and writers in order to handle the rigor and complexity of post high school education and beyond. We must remember to focus on literacy not on the literature
  • We must validate our readers, ask questions that spark confidence, avoid questions that demean or make the student defensive, and at the same time challenge our readers into more complex texts.
  • Try questions like: On a scale of 1 to 10 how complex is this book for you? Why? What do you do when the reading gets difficult? Of all the books you’ve read this year, which was the most challenging? Why? How’s it going finding vocabulary for your personal dictionary? Tell me how you are keeping track of the parallel storyline?
  • I ask students about their confidence levels in our little chats, and they tell me they know they have grown as a readers. This is the best kind of reward.
  • Try questions like: How has your confidence grown as you’ve read this year? What do you think is the one thing we’ve done in class that’s helped you improve so much as a reader? How will the habits you’ve created in class help you in the reading you’ll have to do in college? Why do you think you’ve grown so much as a reader the past few weeks? What’s different for you now in the way you learn than how you learned before? Describe for me the characteristics you have that make you a reader.
  • What kinds of questions work for you in your reading conferences?
Enid Baines

Your Favorite: 100 Best-Ever Teen Novels - 92 views

  • Author Responds to Student Begging for Summary of Required Read
  • I love that teachers and writers admit to not reading books that were assigned. I wouldn't have read "The Scarlet Letter" either if I wasn't the one who had to assign it.
  • Guessing Game: ‘The Lord of the Rings’ as Written by Other Famous Authors - Flavorwire
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  • Some writers have distinct stylistic fingerprints. Student writers, not so much.
  • "Frodo Baggins looked at the ring. The ring was round. It was a good ring. The hole at the heart of the ring was also round. The hole was clean and pure. ... The earth moved."
  • Kids Hate Classic Books Through Hilarious Tweets at #worstbookever « PWxyz
  • The old man and the sea, #worstbookever uuuggghhhh
  • heart of darkness please die #worstbookever#whatsisgoingon?
  • thank god for sparknotes #readingthecrucible#worstbookever
  • endless editing. Anyone who writes a lot understands this
Robert Appino

gladwell dot com - something borrowed - 86 views

  • Under copyright law, what matters is not that you copied someone else's work. What matters is what you copied, and how much you copied. Intellectual-property doctrine isn't a straightforward application of the ethical principle "Thou shalt not steal." At its core is the notion that there are certain situations where you can steal. The protections of copyright, for instance, are time-limited; once something passes into the public domain, anyone can copy it without restriction.
    • Robert Appino
       
      This is the key to copyright according to Gladwell.
  • initial monopoly on your creation because we want to provide economic incentives for people to invent things like cancer drugs. But everyone gets to steal your breast-cancer cure—after a decent interval—because it is also in society's interest to let as many people as possible copy your invention; only then can others learn from it, and build on it, and come up with better and cheaper alternatives. This balance between the protecting and the limiting of intellectual property
  • Constitution: "Congress shall have the power to promote the Progress of Science and useful Arts, by securing for limited"—note that specification, limited—"Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
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  • In ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. . . . I understand what I am taking when I take the picnic table you put in your backyard. I am taking a thing, the picnic table, and after I take it, you don't have it. But what am I taking when I take the good idea you had to put a picnic table in the backyard—by, for example, going to Sears, buying a table, and putting it in my backyard? What is the thing that I am taking then? The point is not just about the thingness of picnic tables versus ideas, though that is an important difference. The point instead is that in the ordinary case—indeed, in practically every case except for a narrow range of exceptions—ideas released to the world are free. I don't take anything from you when I copy the way you dress—though I might seem weird if I do it every day. . . . Instead, as Thomas Jefferson said (and this is especially true when I copy the way someone dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me."
  • arguments that Lessig has with the hard-core proponents of intellectual property are almost all arguments about where and when the line should be drawn between the right to copy and the right to protection from copying, not whether a line should be drawn.
  • when it comes to literature, we have somehow decided that copying is never acceptable.
  • A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings.
  • problem with plagiarism. It is not merely extremist. It has also become disconnected from the broader question of what does and does not inhibit creativity.
  • But the truth is that Lavery has every right to create an affair for Agnetha, because Agnetha is not Dorothy Lewis. She is a fictional character, drawn from Lewis's life but endowed with a completely imaginary set of circumstances and actions.
  • dred and seventy-five rather ordinary words could bring the walls tumbling down.
anonymous

True Grit - Association for Psychological Science - 55 views

    • anonymous
       
      I think it's fascinating that the authors use this "metaphor of achievement" in their article. Many cultural artifacts support this idea of grit, and how hard work and persistence can often help learners achieve their long-term goals.
  • Thus, the growing experimental literature on strategies that facilitate regulation of attention, emotion, and behavior in the presence of immediate temptations, could be relevant to grit and its cultivation.
Kenuvis Romero

This is your brain on psilocybin… | The Scicurious Brain, Scientific American... - 0 views

  • the authors cite a large body of literature characterizing 5-HT2a agonism resulting in pyramidal cell inhibition in cortical areas via excitation of GABAergic interneurons that synapse on pyramidal cells.
  • increased blood deoxygenation levels is concretely correlated with neuronal action-potentions; inhibition of neurons results in less APs and thus less blood flow. BOLD contrasts are the basis of fMRI studies–all of them would be invalidated if this were refuted.
Kenuvis Romero

The Art of Memory - Wikipedia, the free encyclopedia - 0 views

  • The Art of Memory From Wikipedia, the free encyclopedia Jump to: navigation, search For the general topic known as "Ars memoriae" or "the Art of Memory", see Art of memory. The Art of Memory Author(s) Frances A. Yates Country United Kingdom Language English Publisher Routledge and Kegan Paul Publication date 1966 Media type Print (book) Pages 400 ISBN 0-226-95001-8 OCLC Number 42905743  Preceded by Giordano Bruno and the Hermetic Tradition The Art of Memory is a 1966 non-fiction book by British historian Frances A. Yates. The book follows the history of mnemonic systems from the classical period of Simonides of Ceos in Ancient Greece to the Renaissance era of Giordano Bruno, ending with Gottfried Leibniz and the early emergence of the scientific method in the 17th century. See also [edit] Method of loci John Crowley Art of Memory
Mr. Eason

Educational Leadership:Reading: The Core Skill:The Challenge of Challenging Text - 131 views

  • The new standards instead propose that teachers move students purposefully through increasingly complex text to build skill and stamina.
  • higher-order thinking in reading depends heavily on knowledge of word meanings.
  • Students' ability to comprehend a piece of text depends on the number of unfamiliar domain-specific words and new general academic terms they encounter.
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  • If students are to interpret the meanings such complex sentence structures convey, they need to learn how to make sense of the conventions of text—phrasing, word order, punctuation, and language.
  • Students who are aware of the patterns authors use to communicate complex information have an advantage in making sense of text.
  • maintaining understanding across a text.
  • Students' background knowledge, including developmental, experiential, and cognitive factors, influences their ability to understand the explicit and inferential qualities of a text.
  • building skills, establishing purpose, and fostering motivation.
  • even students who have basic decoding skills sometimes struggle to deploy these skills easily and accurately enough to get a purchase on challenging text. To help these students develop reading fluency, teachers should give them lots of practice with reading the same text, as well as instruction to help them develop a stronger sense of where to pause in sentences, how to group words, and how their voices should rise or fall at various junctures when reading aloud.
  • A final determinant of text difficulty, however, depends on the reader's prior knowledge.
  • pair repeated readings of the same text with questions that require the student to read closely for detail and key ideas.
  • Ongoing, solid vocabulary instruction
  • also on general academic words.
  • also explore the connections among words,
  • In contrast, in reading history and literature, readers need to be concerned with not just the causes of events, but also the human intentions behind these causes.
  • teachers should not convey so much information that it spoils the reading or enables students to participate in class without completing the reading; rather, they should let students know what learning to expect from the reading.
  • Teachers may be tempted to try to make it easier for students by avoiding difficult texts. The problem is, easier work is less likely to make readers stronger.
  • You need to create successive successes.
  • Students experience success in the company of their teacher, who combines complex texts with effective instruction.
  •  
    What makes text difficult and how to teach skills for successful comprehension.
Lauren Mitchell

Thoreau's Walking - 2 - 0 views

  • "A white man bathing by the side of a Tahitian was like a plant bleached by the gardener's art compared with a fine, dark green one growing vigorously in the open fields."
    • Lauren Mitchell
       
      Do you think Thoreau would get one of those spray tans?
  • Life consists with Wildness. The most alive is the wildest. Not yet subdued to man, its presence refreshes him.
  • Hope and the future for me are not in lawns and cultivated fields, not in towns and cities, but in the impervious and quaking swamps.
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  • omitting other flower plots and borders, transplanted spruce and trim box, even gravelled walks
  • In Literature, it is only the wild that attracts us. Dullness is but another name for tameness. It is the uncivilized free and wild thinking in Hamlet and the Iliad, in all the scriptures and mythologies, not learned in the Schools, that delights us. As the wild duck is more swift and beautiful than the tame, so is the wild-the mallard-thought, which, 'mid falling dews wings its way above the fens. A truly good book is something as natural, and as unexpectedly and unaccountably fair and perfect, as a wild flower discovered on the prairies of the west, or in the jungles of the east.
  • I confess that I am partial to these wild fancies, which transcend the order of time and development. They are the sublimest recreation of the intellect.
  • all good things are wild and free
  • The seeds of instinct are preserved under the thick hides of cattle and horses, like seeds in the bowels of the earth, an indefinite period.
  • I rejoice that horses and steers have to be broken before they can be made the slaves of men, and that men themselves have some wild oats still left to sow before they become submissive members of society.
  • strange and whimsical as it may seem, that I finally and inevitably settle south-west, toward some particular wood or meadow or deserted pasture or hill in that direction. My needle is slow to settle — varies a few degrees, and does not always point due south-west, it is true, and it has good authority for this variation, but it always settles between west and south-south-west. The future lies that way to me, and the earth seems more unexhausted and richer on that side. The outline which would bound my walks, would  be, not a circle, but a
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