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Adam Babcock

The Free Learning Library - English Companion Ning - 102 views

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    The Free Learning Library is proud to offer the complete digital library of Teaching That Matters to all its members for free. This special ECN Edition of the library, which includes links back to the ECN, is free to use in all schools and classrooms thanks to the generous donation of these materials by Steve Peha from Teaching That Makes Sense. Please click on the document link below to learn more about this new partnership between the EC Ning and Teaching That Makes Sense.
Todd Campion

Great Expectations - Wikipedia, the free encyclopedia - 0 views

  • Miss Havisham and her family Miss Havisham, wealthy spinster who takes Pip on as a companion and whom Pip suspects is his benefactor. Miss Havisham does not discourage this as it fits into her own spiteful plans. She later apologizes to him as she's overtaken by guilt. He accepts her apology and she is badly burnt when her dress catches aflame from a spark which leapt from the fire. Pip saves her, but she later dies from her injuries. Estella (Havisham), Miss Havisham's adopted daughter, whom Pip pursues romantically throughout the novel. She is secretly the daughter of Molly, Jaggers' housekeeper, and Abel Magwitch, Pip's convict, but was given up to Miss Havisham after a murder trial. Estella represents the life of wealth and culture for which Pip strives. Since her ability to love has been ruined by Miss Havisham, she is unable to return Pip's passion. She warns Pip of this repeatedly, but he is unwilling or unable to believe her. At one point, Estella is walking up some iron stairs representing how she is of a higher class than Pip when in fact she is of the same class. Arthur (Havisham), Miss Havisham's half-brother, who felt he was shortchanged in his inheritance by their father's preference for his daughter. He joined with Compeyson in the scheme to cheat Miss Havisham of large sums of money by gaining Miss Havisham's trust through promise of marriage to Compeyson. Arthur is haunted by the memory of the scheme and sickens and dies in a delirium, imagining that the still-living Miss Havisham is in his room, coming to kill him. Arthur has died before the beginning of the novel and gambled heavily, being drunk quite often. Matthew Pocket, a cousin of Miss Havisham's. He is the patriarch of the Pocket family, but unlike others of her relatives he is not greedy for Havisham's wealth. Matthew Pocket has a family of nine children, two nurses, a housekeeper, a cook, and a pretty but useless wife (named Belinda). He also tutors young gentlemen, such as Bentley Drummle, Startop, Pip, and his own son Herbert, who live on his estate. Herbert Pocket, a member of the Pocket family, Miss Havisham's presumed heirs, whom Pip first meets as a "pale young gentleman" who challenges Pip to a fist fight at Miss Havisham's house when both are children. He is the son of Matthew Pocket, Pip's tutor in the "gentlemanly" arts, and shares his apartment with Pip in London, becoming Pip's fast friend who is there to share Pip's happiness as well as his troubles. He is in love with a girl called Clara. Herbert keeps it secret because he knows his mother would say she is below his "station". Camilla, an ageing, talkative relative of Miss Havisham who does not care much for Miss Havisham and only wants her money. She is one of the many relatives who hang around Miss Havisham "like flies" for her wealth. Cousin Raymond, another ageing relative of Miss Havisham who is only interested in her money. He is married to Camilla. Georgiana, an ageing relative of Miss Havisham who is only interested in her money. Sarah Pocket, "a dry, brown corrugated old woman, with a small face that might have been made out of walnut shells, and a large mouth like a cat's without the whiskers." Another ageing relative of Miss Havisham who is only interested in her money
  • Characters from Pip's youth The Convict, an escapee from a prison ship, whom Pip treats kindly, and who turns out to be his benefactor, at which time his real name is revealed to be Abel Magwitch, but who is also known as Provis and Mr. Campbell in parts of the story to protect his identity. Pip also covers him as his uncle in order that no one recognizes him as a convict sent to Australia years before. Abel Magwitch, the convict's given name, who is also Pip's benefactor. Provis, a name that Abel Magwitch uses when he returns to London, to conceal his identity. Pip also says that "Provis" is his uncle visiting from out of town. Mr. Campbell, a name that Abel Magwitch uses after he is discovered in London by his enemy. Mr. and Mrs. Hubble, simple folk who think they are more important than they really are. They live in Pip's village. Mr. Wopsle, the clerk of the church in Pip's village. He later gives up the church work and moves to London to pursue his ambition to be an actor, even though he is not very good. Mr. Waldengarver, the stage name that Mr. Wopsle adopts as an actor in London. Biddy, Mr. Wopsle's second cousin; she runs an evening school from her home in Pip's village and becomes Pip's teacher. A kind and intelligent but poor young woman, she is, like Pip and Estella, an orphan. She is the opposite of Estella. Pip ignores her obvious love for him as he fruitlessly pursues Estella. After he realizes the error of his life choices, he returns to claim Biddy as his bride, only to find out she has married Joe Gargery. Biddy and Joe later have two children, one named after Pip whom Estella mistakes as Pip's child in the original ending. Orlick was attracted to her, but his affection was unreciprocated
Aly Kenee

Days Like This… | alytapp - 132 views

  • Instead of scribbling marks in the margins of printed papers, I opened each student’s paper in Google Docs, highlighted text and inserted comments to clarify my thoughts, and then turned on the screen recorder (Jing) to record my voice as I scrolled through the paper and pointed to items with my mouse. Right after recording, I uploaded the finished recording to Jing’s companion hosting site, and then I simply copied and pasted the link to the recording directly into the Google Doc.
    • brianhammel
       
      Adding value in context rather than providing repetitive written comments in the summation.
  • After about four minutes, they began the next task, copying and pasting my reflection questions into the bottom of their docs, and then responding to those prompts as they reflected on their work and my feedback.
  • As I watched them, I couldn’t help but remember the way that I used to provide feedback. Students would receive their graded papers, flip past the comments I had scribbled in the margin, glance at the final grade, and then forget all about it.
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  • I always knew there was more I wanted to convey to them about their writing, about how they had or had not created meaning for the reader.
  • It took me about 10 minutes per paper, times 68 papers, so the last week and a half have been intense. If you’re doing the math, that’s over 11 hours of paper grading. If I am going to put in that kind of time for grading, I must see my students growing as writers. Period.
    • brianhammel
       
      Technology tool is NOT a time saver. The main goal for using the tool is not increased productivity by the teacher, but instead increased understanding by the student.
    • Aly Kenee
       
      Yes! You state that so eloquently. We often think of tech as nothing more than a tool for expediency.
  •  I liked knowing that my essay got individual attention, individual feedback, and I feel like you cared about what I wrote.
  • A small number of students (actually, fewer than 5) said that they didn’t feel that the verbal comments were all that helpful.
  • hurtful to hear me say out loud what was wrong with their papers
  • Writing is personal, and feedback can feel like an attack.
    • brianhammel
       
      On the flipside, writing is personal, and receiving impersonal and confusing written feedback can also be hurtful. The student spends so much time writing the assignment, but only receives a small amount of scribbled comments in the margin.
  • tried out a new way of assessing student work — screencasting
Eric Postman

Working dog - Wikipedia, the free encyclopedia - 0 views

  • This working dog is a border collie mix. A working dog refers to a canine working animal, i.e., a type of dog that is not merely a pet but learns and performs tasks to assist and/or entertain its human companions, or a breed of such origin.
Charles Hwang

English Companion Ning - 5 views

  • A place to ask questions and get help. A community dedicated to helping you enjoy your work. A cafe without walls or coffee: just friends.
  • A place to ask questions and get help. A community dedicated to helping you enjoy your work. A cafe without walls or coffee: just friends.
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    A thriving community of teachers and others involved in teaching English Language Arts. Has abundant support, resources, a several thousand members who offer encouragement, job news, curriculum, and community. A great place to be.
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    Social network for English teachers: "Where English teachers meet to help each other." Created and maintained by Jim Burke. See also www.englishcompanion.com, his other website for his own work.
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    A place to ask questions and get help. A community dedicated to helping you enjoy your work. A cafe without walls or coffee: just friends.
Deborah Baillesderr

Gamestar Mechanic - 46 views

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    Play, design and share games.  Focuses on game design
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    a very popular web-based game design environment. Global Kids http://olpglobalkids.org/ is using it to run social benefits game design contests and badging programs. They are getting 100+ new game design entries per week. From the parents' guide: Gamestar Mechanic is currently supported by a partnership between the Institute of Play and E-Line Media. The game was originally developed by Gamelab in partnership with the Institute of Play and the Academic Advanced Distributed Learning Co-Lab (AADLC) at the University of Wisconsin-Madison. Initial funding for the game and companion learning guides came from the John D. and Catherine T. MacArthur Foundation. The design of the game is based on research by some of the leading academics in the field including Katie Salen (Executive Director of the Institute of Play and curriculum author for the New York City Public School Quest To Learn) and James Paul Gee (author of What Video Games Have to Teach Us About Learning and Literacy).
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    This site has students creating games from scratch and putting them out into the world for feedback within the Gamestar Mechanic community. Students use math, problem solving, writing skills and more to make their games interesting. I think this could be used in the classroom as a theme-based project or just to get students interested in coding.
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."
meghankelly492

Technology Is Changing How Students Learn, Teachers Say - The New York Times - 13 views

  • hat the education system must adjust to better accommodate the way students learn, a point that some teachers brought up in focus groups themselves
  • roughly 75 percent of 2,462 teachers surveyed said that the Internet and search engines had a “mostly positive” impact on student research skills. And they said such tools had made students more self-sufficient researchers.
  • But nearly 90 percent said that digital technologies were creating “an easily distracted generation with short attention spans.”
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  • About 60 percent said it hindered students’ ability to write and communicate face to face, and almost half said it hurt critical thinking and their ability to do homework.
  • Other teachers said technology was as much a solution as a problem.
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