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Effective Ways to Use Authentic Materials with ESL/EFL StudentsBy Charles Kelly, Lawrence Kelly, Mark Offner and Bruce VorlandAuthentic Materials and Cultural Content in EFL ClassroomsBy Ferit KilickayaUsing Creative Thinking to Find New Uses for RealiaBy Simon Mumford

My Philosophy for Teaching English for BusinessBy Lawrence BaronUsing Authentic Business Transcripts in the ESL ClassroomBy Jonathan CliftonTeaching Business Communication to LEP StudentsBy Ken LauFrameworking in Business English ClassesBy John AdamsonTeaching Tips for ESL University Business English InstructorsBy William BrooksMethodology for Using Case Studies in the Business English Language ClassroomBy Peter Daly

Matching Teaching Styles with Learning Styles in East Asian ContextsBy Rao ZhenhuiTeam Teaching Tips for Foreign Language TeachersBy Rebecca Benoit and Bridget HaughThe Importance of Eye Contact in the ClassroomBy Robert Ledbury, Ian White and Steve Darn

Three Activities to Promote Learners' AutonomyBy Galina KavaliauskienëGetting Students Actively Involved Using "The Mistake Buster" TechniqueBy Hai K.P. Huynh

Perpetual Motion: Keeping the Language Classroom MovingA technique that allows students to practice with as many different partners as possible.By Christopher KelenInteresting Ways to Call Roll in JapanBy Lawrence KlepingerLet Your Students Teach Their ClassBy Naoyoshi Ogawa and Dennis WilkinsonEncouraging Students to Interact with the TeacherBy Roger NunnWhat to Do with Failing StudentsBy Marty DawleyCultural Kickboxing in the ESL Classroom: Encouraging Active ParticipationBy Jan Guidry LacinaA Group Introduction Activity to Create a Safe AtmosphereBy Clay Bussinger

Using Presentation Software to Enhance Language LearningBy Miriam Schcolnik and Sara KolQuick Tips for the CALL LaboratoryBy Brian Cullen and John MorrisUsing PowerPoint for ESL TeachingBy Don L. Fisher

Encouraging English Expression through Script-based ImprovisationsBy Manette R. BerlingerTeaching Conversation Skills With Content Based MaterialsBy Greg GoodmacherUsing Pair TapingBy Peter H. SchneiderTeaching Conversation Strategies Through Pair-TapingBy Nancy Washburn and Kiel ChristiansonBoosting Speaking Fluency through Partner TapingBy David E. Kluge and Matthew A. TaylorOvercoming Chinese-English Colloquial Habits in WritingBy Ted KnoyCommunicative Language Teaching in a Multimedia Language LabBy Shih-Jen Huang and Hsiao-Fang LiuIt's on the Cards: Adapting a Board-game Communicative ActivityBy Bob Gibson Leaving the Room: An Introduction to Theme-Based Oral EnglishBy Stewart Wachs

The Talking Stick: An American Indian Tradition in the ESL ClassroomBy Kimberly FujiokaRole Playing/SimulationBy Patricia K. TompkinsBrainstorming Before Speaking TasksBy Brian CullenTeach Students to Interact, Not Just TalkBy Gerard CounihanFive Steps to Using Your Textbook to Build a More Dynamic EFL Conversation ClassBy Stephen B. RyanDialog Performances: Developing Effective Communication Strategies for Non-English Majors in Japanese UniversitiesBy Susan Gilfert and Robert CrokerOvercoming Common Problems Related to Communicative MethodologyBy Stephen B. RyanDesigning Simple Interactive Tasks for Small GroupsBy Roger NunnTips for Teaching Conversation in the Multilingual ESL ClassroomBy Cara PulickTeaching "How are You" to ESL StudentsBy Brendan DalyUsing Games to Promote Communicative Skills in Language LearningBy Chen, I-JungFacilitating English Conversation Development in Large ClassroomsBy Gerry GibsonHelping EFL/ESL Students by Asking Quality QuestionsBy Nasreen HussainSuccessful Classroom Discussions with Adult Korean ESL/EFL LearnersBy Hye-Yeon Lim & W. I. GriffithIncreasing Authentic Speech in Classroom DiscussionsBy Georgia SmyrniouDesigning Simple Interactive Tasks for Small GroupsBy Roger NunnA Practical and Effective Way to Enhance the ESL Students' Oral CompetenceBy Yichu Qi

Practical Techniques for Teaching Culture in the EFL ClassroomBy Brian Cullen and Kazuyoshi SatoRole Play in Teaching Culture: Six Quick Steps for Classroom ImplementationBy Maria A. KodotchigovaCompliments: Integrating Cultural Values into Oral English ClassesBy Chou, Yen-LinRole Play in Teaching Culture: Six Quick Steps for Classroom ImplementationBy Maria A. KodotchigovaGuidelines to Evaluate Cultural Content in TextbooksBy Ferit Kilickaya

Drama Techniques for Teaching EnglishBy Vani Chauhan

Using Picture Dictation Exercises for Practising All Four SkillsBy Sylvia Sao Leng IeongTeaching the Four Skills in the Primary EFL ClassroomBy Marcos Peñate Cabrera and Plácido Bazo

The Structural Drill in Remedial TeachingBy Felix MosesClassroom Techniques for Contextualization:How to make "This is a pen." a pragmatically motivated utterance.By Yoshinori SasakiA Technique for Practising Conditional SentencesBy Galina KavaliauskieneGrammar Correction in ESL/EFL Writing Classes May Not Be EffectiveBy Ronald GrayDoing Things with Sentences in the ESL ClassroomBy Simon MumfordTeaching ESL Students to "Notice" GrammarBy Francis J. Noonan IIIUsing Simple Poems to Teach GrammarBy Hawanum HusseinCommunicative Grammar -- It's Time to Talk.By Noriko NishiguchiEmpowering English Teachers to Grapple with Errors in GrammarBy Caroline Mei Lin HoHelping Students with ModalsBy Michael ThompsonA Technique for Practising Conditional SentencesBy Galina Kavaliauskiene

Using Humour in the Second Language ClassroomBy Paul-Emile Chiasson

Redesigning Non-Task-Based Materials to Fit a Task-Based FrameworkBy Kevin RooneyA Holistic Classroom Activity - The Class SurveyBy Roger NunnThree Activities to Promote Learners' AutonomyBy Galina Kavaliauskienë

75 ESL Teaching IdeasBy Hall Houston

Music and Song in DiscussionBy Brian CullenSong DictationBy Brian CullenTeaching Phrasal Verbs Using SongsBy Subrahmanian UpendranHelping Prospective EFL Teachers Learn How to Use Songs in Teaching Conversation ClassesBy Natalia F. OrlovaFocused Listening with SongsBy Isaiah WonHo Yoo

Getting the Most from Textbook Listening ActivitiesBy Thomas LavelleTraining for Impromptu Speaking and Testing Active Listening With a Focus on Japanese StudentsBy Cecilia B-IkeguchiDictation DrawingBy Brian GroverReal Audio to Augment Real Listening in the ESL ClassroomBy Frank TuziSelf-Instruction by Audio CassetteBy John SmallDictation as a Language Learning DeviceBy Scott AlkireFocused Listening with SongsBy Isaiah WonHo YooListening Activities for Effective Top-down ProcessingBy Ji LingzhuDictation as a Language Learning DeviceBy Scott Alkire

Sustaining an Interest in Learning English and Increasing the Motivation to Learn English: An Enrichment ProgramBy Supyan Hussin, Nooreiny Maarof, and J. V. D'CruzHelping ESL Learners to See Their Own ImprovementBy Upendran SubrahmanianCommunicating SuccessBy Trevor SargentCreative and Critical Thinking in Language ClassroomsBy Muhammad Kamarul KabilanLearner Training for Learner Autonomy on Summer Language CoursesBy Ciarán P. McCarthyEncouraging Students to Become Stakeholders in the ESL ClassroomBy Karen BordonaroMotivation in the ESL ClassroomBy William T. Lile

Using the Internet in ESL Writing InstructionBy Jarek KrajkaSome Possibilities for Using On-line Newspapers in the ESL ClassroomBy Jarek KrajkaGetting Your Class ConnectedSome ideas on using e-mail and homepages.By Dennis E. WilkinsonActivities for Using Junk Email in the ESL/EFL ClassroomBy Suggested ways to use junk mail and some ready-to-use handouts for the classroom.By Michael IvyLet the E-mail Software Do the Work: Time Saving Features for the Writing TeacherBy Ron BelisleDiscussion Forums for ESL LearningBy Peter ConnellReport on a Penpal Project, and Tips for Penpal-Project SuccessBy Vera MelloUsing E-mail in Foreign Language Teaching: Rationale and SuggestionsBy Margaret Gonglewski, Christine Meloni and Jocelyne BrantHow to Build a Multimedia Website for Language StudyBy Randall S. DavisMaking Chat Activities with Native Speakers Meaningful for EFL LearnersBy Jo MynardInteractivity Tools in Online LearningBy Chien-Ching LeeTeaching Search Engines to ESL Students: Avoiding the AvalancheBy Kirsten LincolnTeaching EFL/ESL Students How to Use Search Engines and Develop their EnglishBy Rupert HeringtonInteractivity Tools in Online LearningBy Chien-Ching LeeMaking Chat Activities with Native Speakers Meaningful for EFL LearnersBy Jo MynardHow to Build a Multimedia Website for Language StudyBy Randall S. DavisQuick Tips for the CALL LaboratoryBy Brian Cullen and John MorrisCreating a Learning Community Through Electronic JournalingBy Anne BollatiA Model of Team Teaching in a Web-mediated EAP CourseBy Mihye Harker & Dimitra KoutsantoniUsing LiveJournal for Authentic Communication in EFL ClassesBy Aaron Patric CampbellWeblogs for Use with ESL ClassesBy Aaron Patric Campbell

Some Techniques for Teaching PronunciationBy David F. DaltonTesting Some Suprasegmental Features of English SpeechBy Mehmet CelikTeaching English Intonation to EFL/ESLStudentsBy Mehmet CelikReverse Accent Mimicry: An Accent Reduction Technique for Second Language LearnersBy Laurence M. HiltonA Quick Way to Improve /r/ and /l/ PronunciationBy Tim GreerTeaching English Intonation to EFL/ESLStudentsBy Mehmet Celik

Teaching Debate to ESL Students: A Six-Class UnitBy Daniel KriegerGuiding ESL Students Towards Independent Speech MakingBy Françoise Nunn and Roger NunnA Genre Approach to Oral PresentationsBy Fiona Webster

Teaching EFL/ESL Students How to Read Time and NewsweekBy J. Ignacio BermejoGraffiti for ESL ReadersDescribes an activity using content-based articles.By Brent BuhlerReading and Writing through Neuro-Linguistic ProgrammingBy Tom MaguireHow to Read Nonfictional English Text Faster and More EffectivelyBy Helmut StiefenhöferWhat Do We Test When We Test Reading Comprehension?By Akmar MohamadTeaching ESL Reading Using ComputersBy Saad AlKahtaniAn Integrated Approach to Teaching Literature in the EFL ClassroomBy Christine SavvidouA Fun Reading Quiz GameBy Madhavi Gayathri RamanReading Aloud (Out Loud) in Conversational English Classes By Derek KellyUsing Children's Literature with Young LearnersBy Eowyn BrownUsing News Stories in the ESL ClassroomBy Robin Antepara

A Method for Oral Testing in University English Programs at Korean UniversitiesBy David B. KentMeasuring Word Recognition Using a PictureBy Jungok Bae

Developing Film Study GuidesBy Donna Hurst TatsukiDeveloping an English for Specific Purposes Course Using a Learner Centered Approach: A Russian ExperienceBy Pavel V. SysoyevVideotaping an English Mini-drama in Your ClassroomBy David G. MagnussonUsing CNN News Video in the EFL ClassroomBy Alan S. MackenzieContent Video in the EFL ClassroomBy Michael FurmanovskyCaptioned Video: Making it Work for YouBy Randall S. DavisUsing Movie Trailers in an ESL CALL ClassBy John GebhardtVideo Production in the Foreign Language Classroom: Some Practical IdeasBy Sebastian Brooke

Personal Vocabulary NotesBy Joshua KurzweilLearner-centered Vocabulary Building PracticeBy Sadia Yasser AliA Learner-Centred Approach to Vocabulary Review Using BingoBy Galina KavaliauskienëSongs, Verse and Games for Teaching GrammarBy Arif Saricoban & Esen MetinDeductive & Inductive Lessons for Saudi EFL Freshmen StudentsBy Mohammed Y. Al-KharratWarm-up Exercises in Listening ClassesBy Zhang Yi JunGetting Japanese Children to Make Use of Naturally-sounding English in the ClassroomBy Junko YamamotoVocabulary Teaching Using Student-Written DialoguesBy Alice Dana Delaney WalkerTeaching Vocabulary to Japanese Students: A Lexical ApproachBy Kwabena AsareDrilling Can Be FunBy Simon MumfordThe Use of Corpora in the Vocabulary ClassroomBy Yu Hua ChenBuilding Vocabulary Through Prefixes, Roots & SuffixesBy William PittmanPersonal Vocabulary NotesBy Joshua KurzweilTeaching Vocabulary to Japanese Students: A Lexical ApproachBy Kwabena AsareMeasuring Word Recognition Using a PictureBy Jungok Bae

Secret Partner Journals for Motivation, Fluency and FunBy Timothy StewartReading and Writing through Neuro-Linguistic ProgrammingBy Tom MaguireA Peer Review Activity for Essay OrganizationBy Bob GibsonMaking Jigsaw Activities Using Newspaper ArticlesBy David DycusUsing Postcards in the ClassroomBy Peter LobellLess Is More: Summary Writing and Sentence Structure in the Advanced ESL ClassroomBy George L. GreaneyTeaching Integrated Writing SkillsBy Cecilia B-IkeguchiCorrecting Students' WritingBy Bryan MurphyUsing E-mail in EFL Writing ClassesBy Eui-Kap LeeApproaching Writing Skills through Fairy TalesBy Silvia BrutiTeaching ESL/EFL Students to Write BetterBy Yesim CimcozEnglish Writing Program for Engineering StudentsBy Hui Mien TanFreewriting, Prompts and FeedbackBy Kenneth J. DicksonPortfolios and Process Writing: A Practical ApproachBy Simon ReaInteractive Writing in the EFL Class: A Repertoire of TasksBy María Palmira Massi

Using Cooperative Learning to Integrate Thinking and Information Technology in a Content-Based Writing LessonBy Gabriel Tan, Patrick B Gallo, George M Jacobs and Christine Kim-Eng LeeEncouraging Engineering Students to Write Simple EssaysBy Thevy RajaretnamIntegrating Writing with ReadingBy Yang ShuyingThe Process Writing MethodBy Daniel J. JarvisSuggestions for Evaluating ESL Writing HolisticallyBy Matthew W. CurrierDeveloping Writing Skills in a Foreign Language via the InternetBy Roger C. KenworthyCreating a Writing Course Utilizing Class and Student BlogsBy Andrew JohnsonA Fun Way to Generate Ideas for Comparison ParagraphsBy Melodie CookSeeing is Understanding: Improving Coherence in Students' Writing By Chien-Ching LeeDeveloping Task-based Writing with Adolescent EFL StudentsBy Maria CabralProviding Feedback on ESL Students' Written AssignmentsBy Jason Gordon WilliamsSimple Steps to Successful Revision in L2 WritingBy Catherine ColemanTeaching TESOL Undergraduates to Organize and Write Literature ReviewsBy Roberto CriolloThe Process Writing MethodBy Daniel J. JarvisIntegrating Writing with ReadingBy Yang ShuyingEncouraging Engineering Students to Write Simple EssaysBy Thevy Rajaretnam

Maximizing Study Trips AbroadBy Howard HigaThe Application of Universal Instructional Design to ESL TeachingBy Kregg C. StrehornBaFa BaFa: Does it Work with University EFL Learners?By Donald Glenn CarrollA Tutor-Guided Learning Scheme in a Self-Access CentreBy Lai Lai KwanImproving Science Students' Fluency through Project WorkBy Nebila Dhieb-HeniaUsing Service-Learning as Part of an ESL ProgramBy James M. MinorIncorporating Critical Thinking Skills Development into ESL/EFL CoursesBy Andy HalvorsenHelping ESL Learners to Minimize Collocational ErrorsBy Rotimi TaiwoUsing Concept Maps to Gauge Students' UnderstandingBy Lee Chien ChingContent Based ESL Curriculum and Academic Language ProficiencyBy Clara Lee BrownUsing Pictures from MagazinesBy Joep van der WerffEnhancing Critical Thinking with Structured Controversial DialoguesBy Hanizah Zainuddin & Rashid A. MooreUsing Expectations to Improve LearningBy Gena BennettIntegrating Language Learning Strategy Instruction into ESL/EFL LessonsBy Catherine Y. KinoshitaUsing Checklists to "Standardise" ContentBy Chien-Ching LeeGames in the ESL and EFL ClassBy Angkana DeesriOvercoming Common Problems Related to Communicative MethodologyBy Stephen B. Ryan

effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, its long-term effect on the growth of nationalism was probably more significant

The movement validated intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities: both new aesthetic categories

r, and the distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape

made spontaneity a desirable characteristic

argued for a "natural" epistemology of human activities, as conditioned by nature in the form of language and customary usag

Romanticism embraced the exotic, the unfamiliar, and the distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape

elevated folk art and ancient custom to a noble status

the events of and ideologies that led to the French Revolution planted the seeds from which both Romanticism and the Counter-Enlightenment sprouted

in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism

Romanticism assigned a high value to the achievements of 'heroic' individualists and artists, whose pioneering examples, it maintained, would raise the quality of society

In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of

The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law"

vouched for the individual imagination as a critical authority allowed of freedom from classical notions of form in art

the influence of models from other works would impede the creator's own imagination, so originality was absolutely essential

The concept of the genius, or artist who was able to produce his own original work through this process of "creation from nothingness", is key to Romanticism, and to be derivative was the worst sin

romantic originality.

a strong belief and interest in the importance of nature. However this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone

In contrast to the usually very social art of the Enlightenment, Romantics were distrustful of the human world, and tended to believe that a close connection with nature was mentally and morally healthy

in literature, "much of romantic poetry invited the reader to identify the protagonists with the poets themselves"

by the middle of the 18th century "romantic" in English and romantique in French were both in common use as adjectives of praise for natural phenomena such as views and sunsets, in a sense close to modern English usage but without the implied sexual element

only from the 1820s that Romanticism certainly knew itself by its name, and in 1824 the Académie française took the wholly ineffective step of issuing a decree condemning it in literature

Romanticism is not easily defined, and the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought

Margaret Drabble described it in literature as taking place "roughly between 1770 and 1848"

In other fields and other countries the period denominated as Romantic can be considerably different; musical Romanticism, for example, is generally regarded as only having ceased as a major artistic force as late as 1910, but in an extreme extension the Four Last Songs of Richard Strauss are described stylistically as "Late Romantic" and were composed in 1946–48.[23] However in most fields the Romantic Period is said to be over by about 1850, or earlie

early period of the Romantic Era was a time of war, with the French Revolution (1789–1799) followed by the Napoleonic Wars until 1815. These wars, along with the political and social turmoil that went along with them, served as the background for Romanticism

t was part of the Counter-Enlightenment, a reaction against the Age of Enlightenment, is generally accepted

ts relationship to the French Revolution which began in 1789 in the very early stages of the period, is clearly important, but highly variable depending on geography and individual reactions

ost Romantics can be said to be broadly progressive in their views, but a considerable number always had, or developed, a wide range of conservative views

In philosophy and the history of ideas, Romanticism was seen by Isaiah Berlin as disrupting for over a century the classic Western traditions of rationality and the very idea of moral absolutes and agreed values, leading "to something like the melting away of the very notion of objective truth",[27] and hence not only to nationalism, but also fascism and totalitarianism

The painter, the poet, the composer do not hold up a mirror to nature, however ideal, but invent; they do not imitate (the doctrine of mimesis), but create not merely the means but the goals that they pursue; these goals represent the self-expression of the artist's own unique, inner vision, to set aside which in response to the demands of some "external" voice — church, state, public opinion, family friends, arbiters of taste — is an act of betrayal of what alone justifies their existence for those who are in any sense creative

An earlier definition comes from Charles Baudelaire: "Romanticism is precisely situated neither in choice of subject nor exact truth, but in the way of feeling."

The end of the Romantic era is marked in some areas by a new style of Realism, which affected literature, especially the novel and drama, painting, and even music, through Verismo opera

movement was led by France, with Balzac and Flaubert in literature and Courbet in painting; Stendhal and Goya were important precursors of Realism in their respective media

In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of "sensibility" with its emphasis on women and children, the heroic isolation of the artist or narrator, and respect for a new, wilder, untrammeled and "pure" nature

Joseph maintained that invention and imagination were the chief qualities of a poet

1774 novel The Sorrows of Young Werther had young men throughout Europe emulating its protagonist, a young artist with a very sensitive and passionate temperament

Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism

Important motifs in German Romanticism are travelling, nature, and Germanic myths

The later German Romanticism of, for example, E. T. A. Hoffmann's Der Sandmann (The Sandman), 1817, and Joseph Freiherr von Eichendorff's Das Marmorbild (The Marble Statue), 1819, was darker in its motifs and has gothic elements

The significance to Romanticism of childhood innocence, the importance of imagination, and racial theories all combined to give an unprecedented importance to folk literature, non-classical mythology and children's literature, above all in Germany

The first collection of Grimms' Fairy Tales by the Brothers Grimm was published in 1812

Unlike the much later work of Hans Christian Andersen, who was publishing his invented tales in Danish from 1835, these German works were at least mainly based on collected folk tales, and the Grimms remained true to the style of the telling in their early editions, though later rewriting some parts

They were schools for the gentlemanly elite of Victorian politics, armed forces and colonial government. Often successful businessmen would send their sons to a public school as a mark of participation in the elite

the public school system influenced the school systems of the British Empire, and recognisably "public" schools can be found in many Commonwealth countries

Until 1975 there had been a group of 179 academically selective schools drawing on both private and state funding, the direct grant grammar schools

Both these trends were reversed during the 1980s, and the share of the independent schools reached 7.5 percent by 1991

119 of these schools became independent.

share of the independent sector fell from a little under 8 percent in 1964 to reach a low of 5.7 percent in 1978

changes since 1990 have been less dramatic, participation falling to 6.9 percent by 1996 before increasing very slightly after 2000 to reach 7.2 percent, as seen at present.

As of 2011[update] there were more than 2,600 independent schools in the UK educating some 628,000 children, comprising over 6.5 percent of UK children, and more than 18 percent of pupils over the age of 16

According to a study by Ryan & Sibetia,[7] "the proportion of pupils attending independent schools in England is currently 7.2 percent (considering full-time pupils only)".

Most independent schools, particularly the larger and older institutions, have charitable status

Most public schools developed significantly during the 18th and 19th centuries, and came to play an important role in the development of the Victorian social elite

Independent schools, like state grammar schools, are free to select their pupils, subject to general legislation against discrimination

principal forms of selection are financial, in that the pupil's family must be able to pay the school fees, and academic, with many administering their own entrance exams - some also require that the prospective student undergo an interview, and credit may also be given for musical, sporting or other talent

Nowadays most schools pay little regard to family connections, apart from siblings currently at the school.

Only a small minority of parents can afford school fees averaging over £23,000 per annum for boarding pupils and £11,000 for day pupils, with additional costs for uniform, equipment and extra-curricular facilities.[2][12]

Scholarships and means-tested bursaries to assist the education of the less well-off are usually awarded by a process which combines academic and other criteria.[13][14]

generally academically selective, using the competitive Common Entrance Examination at ages 11–13

Schools often offer scholarships to attract abler pupils (which improves their average results)

Poorly-performing pupils may be required to leave,

generally characterised by more individual teaching

much better pupil-teacher ratios at around 9:1;[16]

more time for organised sports and extra-curricular activities

longer teaching hours (sometimes including Saturday morning teaching) and homework, though shorter terms

a broader education than that prescribed by the national curriculum, to which state school education is in practice limited.

Educational achievement is generally very good

As boarding schools are fully responsible for their pupils throughout term-time, pastoral care is an essential part of independent education, and many independent schools teach their own distinctive ethos, including social aspirations, manners and accents, associated with their own school traditions

Most offer sporting, musical, dramatic and art facilities, sometimes at extra charges, although often with the benefit of generations of past investment

more emphasis on traditional academic subjects

Independent school pupils are four times more likely to attain an A* at GCSE than their non-selective state sector counterparts and twice as likely to attain an A grade at A-level

Some schools specialise in particular strengths, whether academic, vocational or artistic, although this is not as common as it is in the State sector.

A much higher proportion go to university

set their own discipline regime

In England and Wales there are no requirements for teaching staff to have Qualified Teacher Status or to be registered with the General Teaching Council

2014 a report from Oxford Economics highlighted the impact that independent schools have on the British economy

independent schools support an £11.7 billion contribution to gross value added (GVA) in Britain. This represents the share of GDP that is supported by independent schools

Independent schools support 275,700 jobs across Britain, around 1.0% of all in employment in Britain

the report quantified the savings to the taxpayer derived from c.620,000 British pupils at independent schools choosing not to take up the place at a state school to which they are entitled. This results in an annual saving to the taxpayer of £3.9 billion, the equivalent of building more than 590 new free schools each year

the report highlighted the additional value to Britain’s GDP that results from the higher educational performance achieved by pupils at independent schools

many of the best-known public schools are extremely expensive, and many have entry criteria geared towards those who have been at private "feeder" preparatory-schools or privately tutored

the achievement of pupils at independent schools in Britain results in an estimated additional annual contribution to GDP of £1.3 billion.

often criticised for being elitist

often seen as outside the spirit of the state system

the treatment of the state sector as homogeneous in nature is difficult to support

Although grammar schools are rare, some of them are highly selective and state funded boarding schools require substantial fees

Even traditional comprehensive schools may be effectively selective because only wealthier families can afford to live in their catchment area

may be argued that the gap in performance between state schools is much larger than that between the better state and grammar schools and the independent sector

Smithers and Robinson's 2010 Sutton Trust commissioned study of social variation in comprehensive schools (excluding grammar schools) notes that "The 2,679 state comprehensive schools in England are highly socially segregated: the least deprived comprehensive in the country has 1 in 25 (4.2 percent) of pupils with parents on income benefits compared with over 16 times as many (68.6 percent) in the most deprived comprehensive"

Every 2.3 pupils at an independent school supports one person in employment in Britain

large number (c. one third[citation needed]) of independent schools provide assistance with fees

Some parents complain that their rights and their children’s are compromised by vague and one-sided contracts which allow Heads to use discretionary powers unfairly, such as in expulsion on non-disciplinary matters. They believe independent schools have not embraced the principles of natural justice as adopted by the state sector, and private law as applied to Higher Education

Nowadays, independent school pupils have "the highest rates of achieving grades A or B in A-level maths and sciences" compared to grammar, specialist and mainstream state school

pupils at independent schools account for a disproportionate number of the total number of A-levels in maths and sciences.

In 2006, pupils at fee-paying schools made up 43 percent of those selected for places at Oxford University and 38 percent of those granted places at Cambridge University (although such pupils represent only 18 percent of the 16 years old plus school population)

"ceteris paribus, academic performance at university is better the more advantaged is the student's home background".

In 2002, Jeremy Smith and Robin Naylor

they also observed that a student educated at an independent school was on average 6 percent less likely to receive a first or an upper second class degree than a student from the same social class background, of the same gender, who had achieved the same A-level score at a state school

The same study found wide variations between independent school, suggesting that students from a few of them were in fact significantly more likely to obtain the better degrees than state students of the same gender and class background having the same A-level score

Richard Partington at Cambridge University[29] showed that A-level performance is "overwhelmingly" the best predictor for exam performance in the earlier years ("Part I") of the undergraduate degree at Cambridge

A study commissioned by the Sutton Trust[30] and published in 2010 focussed mainly on the possible use of U.S.-style SAT tests as a way of detecting a candidate's academic potential. Its findings confirmed those of the Smith & Naylor study in that it found that privately educated pupils who, despite their educational advantages, have only secured a poor A-level score, and who therefore attend less selective universities, do less well than state educated degree candidates with the same low A-level attainment

Independent sector schools regularly dominate the top of the A-level league tables, and their students are more likely to apply to the most selective universities; as a result independent sector students are particularly well represented at these institutions, and therefore only the very ablest of them are likely to secure the best degrees.

In 2013 the Higher Education Funding Council for England published a study [31] noting, amongst other things, that a greater percentage of students who had attended an independent school prior to university achieved a first or upper second class degree compared with students from state schools

6. Revise and rewrite your poems  If it doesn't sound very good right after it's done that's alright, just give it some time. Focus on writing other poems and come back to revise this one after a while, you'll have a different perspective after you took a brake from it. It'll help you see the bigger picture.

5. Read your poems out loud  I know it sounds like no big deal but trust me it makes a difference.

4. Read/watch as many spoken word/poems as possible Pay attention to what suits you better, which artists do you like most and why. Understand it and go in that direction. For example if you like an artists that always has funny poems you may be prone to write funny poems, it's likely they'll make you feel more comfortable. You can always experience other types of poems if you want to!

7. Use your imagination. That's what I love most about artists, they CREATE their world however they want it to be, and they can drag you into their stories faster than you can even realize it. So use your imagination, create whatever you wish and do your best to convince the audience (even if the audience is just you or a couple of friends of yours.) that world you're writing really exists. 

8. Spoken word doesn't have to rhyme So don't struggle to find rhymes. But, if you have a good rhyme in mind. don't hesitate! Make it part of your poetry, find your flow.

9. Make a special notebook for poetry writing. I bought my poetry notebook just because I liked the cover of it. Every time I pull it out of my bag it makes me smile. Also one more thing I did was to write quotes from my best poems on colored post it notes and stick them on the first page of the notebook. That way every time I open the notebook to write I can read pieces of my best creations and feel proud. It really boosts up your morale. 

10. Be honest with yourself If something hurt you and it still does let it out, don't back from your thoughts and feelings. If you worry your poem will be too cheesy or too sad, stop worrying! just let it be. Acknowledge the fact that those thoughts were haunting your brain for some time now. Get to know them and set them free...and what better way is there to set thoughts free than by poetry?

11.  Write as often as possible And this is, the most important thing of all. Write constantly, even if you have just one or two sentences in mind, just write them down. Also, carry the notebook with you all the time. You never know when something will trigger the inspiration in you.

There are two types of special classes. The type described above is called the E class, and there is one in each year. These classes are smaller than the others, and they have the same teacher for most subjects (who should be a qualified teacher with an extra qualification in special needs, but in practice these are in short supply). Students can move in and out of this class, but in practice they usually stay there for most subjects, occasionally joining another class if they have a strength in a particular area.

high expectations of all students, and these are to meet the objectives set out in the national curriculum.

These mixed ability classes would be difficult for teachers to handle if it weren't for three things: thorough teacher education - teacher training includes a significant focus on differentiation and how to support students at all levels;small class sizes - the estimated average size is 14.1 (although some research suggests class size doesn't affect student performance); anda well staffed student support system - special teachers that provide in class support and take out small groups are qualified teachers with further qualifications in special education.

all classes are mixed ability.

Those with severe or specific special needs still attend mainstream school, but are in a class of their own somewhere in the district. Each school has its own specialism. This may mean travelling a little while to get there, as only one or two schools will have an autistic class for example. 

There isn't really special provision for gifted students

brighter students help struggling students in class which enhances their own understanding

if students are motivated, you can't stop them learning - gifted students will take the books and teach themselves (one of the teachers who told me this had four degrees but had come from a tiny school in the countryside).

Finland has only small differences in performance between schools (a measure closely associated with equality), and most students go to their local schools (to age 15).

Selection only happens in two situations: where students are applying to language emersion schools (and the student has to speak the language to a certain level), and where students are applying for a certain class in a school that is the school's specialism, such as Music or Sports (these classes have the same basic curriculum with additional Music or Sports lessons). There are no grammar schools, and very few private schools (and even these have to follow the national curriculum).

school’s political, religious or pedagogical orientation. Freedom of the Efterskole is assured by substantial state subsidies to both schools and students.

Efterskole has substantial freedom in terms of eg. choice of subjects, teaching methods and educational approach

The schools were closely related to the Danish Folk High School and the educational ideas of N.F.S. Grundtvig (1789-1872) who wanted schools to provide enlightenment for life rather than formal vocational training

unique about the Efterskole is the teacher-student relationship. The teacher is responsible for both teaching and supervision outside of school hours

Most Efterskoles offer the same subjects and final examinations as the public schools, but many focus on special subjects like physical education, music or theatre, or offer various kinds of special education.

more than 260 Efterskoles spread across Denmark, mostly in rural areas or near provincial towns

approximately 28.500 students attend the schools. Schools vary in size from 25 to 500 students but must have a minimum of approx. 100 students. The number of students has increased considerably within the last 25 years.

Around 520 of ISC schools offer A-Levels and, out of these, 123 schools helped prepare A-Level pupils at maintained schools for entry to Higher Education

Examples of types of partnerships and collaborative activities include: - Sharing knowledge, skills, expertise and experience with state schools Working together with state schools on projects to improve the quality of teaching and learning Hosting joint lessons with local schools Holding open sports’ coaching sessions Providing work experience for disengaged 14-16 year olds Lending minibuses to local scout groups Giving careers’ advice to 18 year olds Running collaborative workshops for everything from creative writing and singing to science experiment Opening up drama, music and sports facilities and hosting cultural and sporting events.