The development of listening comprehension forms one of the important bases of this recess. The child learns to understand what they hear, speculating about what it could mean. The content of what the children are offered in the new language is of crucial importance in motivating them to work out the meaning of what they hear and read. The same is true for developing speaking skills. Poems give children the opportunity to gain experience with pronunciation and intonation, through play, without anxiety.
Recent findings in cognitive psychology demonstrate clearly that the development of foreign-language skills doesn’t take place independently of the child’s general cognitive development. In this case the teacher can help develop the poetry…….. Introduction_ Summary. References… 1 7 con Children learn a language Nina development oaf listening corn process. The child learns to UN could mean. The content of wet crucial importance in motivator and read. The same is true fool opportunity to gain experience without anxiety.
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Repeating, encouraging, hat is needed to help a child to overcome MIS correcting the child or they might be discourage use: Don’t correct, ‘model’ the correct form of the boy wanted home,” you can say, “Yes. The boy Encourage children to correct themselves, this learning process. Say “Almost right, try again… ” Is but do not give them the answer; Some core over-correct. A page full of crossing out and cord is always being told, “Wrong! Do it again! ; Apart let the child develop their ideas and fluency that corrections. The ideas are more important than level of English in mind. Give lots of praise and can’t know everything . Top ten classroom teaching: Plan what you are going to do in advance step b and your pupils know exactly where you are go only way you will be able to control up to 30 chill the first to know if you haven’t prepared and re your year by being firm and be consistent in you children expect a disciplined, structured class routines.
Check with the class teacher what AC and make it clear to the pupils that you expect t names and address them directly; Be mobile and walk round the class; Have a clear signal for stopping activities or who silence and wait for their full attention before y instructions or demonstrations. Make sure child do; Never underestimate children’s abilities or limited English but they still have the same intent child of their age. Keep them interested by pr meaningful activities; Always ensure that child with them at the end of a lesson.
Children will feel proud and have a sense of achievement if they leave the classroom being able to ask, for example, a new question in English, say something about themselves, or tell a poem. This means (see the first point above) that your aims will be clear to the children. Avoid activities that over-excite – it is often difficult to return to a calm and controlled learning environment after a noisy game. Avoid activities that require a lot of movement as you will find that there is often very little space in a classroom for this type of activity.
Also avoid activities that require a lot of cutting and pasting unless there is a clear linguistic outcome, as these can cut into valuable time, apart from creating a great deal of mess; Make positive comments about the children’s work and efforts and let them see that you value their work; Have additional material prepared to cope with faster and slower pupils’ needs and don’t let activities go on too long [8, p. 126]. 2. Basic principles of teaching poetry. A lot of teachers get the same look – the sigh, the rolling eye, the slump. “We’re going to be doing poetry in the next few classes”.
The teacher cringes through it, the children cringe through it. There are a few things about poetry and writing though which can inspire and bring a teacher back to believing in their ability to teach it as well as ability to help others love it. To paraphrase Robin Williams in ‘The Dead Poet’s Society’, poetry doesn’t need to be complicated to be beautiful. They are: Keep it simple One of the biggest misconceptions is that poetry has to be difficult. This Just is not true! A teacher may have the greatest successes with simple poetic forms like Haiku, Limericks, and even lyrical narrative like Dry.
Guess books which have short, simple themes. Haiku is usually about nature. Limericks are humorous and meant to poke fun. Moreover, each one can be used to convey simple ideas, using very simple techniques in writing to produce surprisingly sophisticated work [16, p. 57]. Discovering the poem For example, there are several rules concerning classical Japanese Haiku: They are three line poems; Have a syllable pattern of 5-7-5 (though this is dictated by the classical Japanese and would not necessarily be enforced in English as syllables can be shortened! ; Are usually about nature; Take place in the present (use phrases like ‘this tree, these blossoms); Are intensely personal (seldom use names, but instead use I / you / he / she / our); Take on a remarkable literary device despite their brevity – Juxtaposition! [3, p. 54]. When teaching it the teacher may follow a very time honored approach used in LET known as the guided discovery approach, which basically means helping students figure things out for themselves without simply presenting it to them.
Started with three impel poems each having some visual motif (eagles, icicles, mountains); Get pictures of these, split them into groups, and give each group one picture. Groups may have two minutes to write a three-line poem based on the picture; When finished, poems must be written on the board. Putting them side-by-side with authentic Haiku these pictures are based on, students can start forming a basis for comparison; At that point the teacher is able to activate the students and set their minds to work, saying: “These are called Haiku. Look at all three!
Tell me what they have in common and therefore) what makes each a Haiku of the poems you’ve written, which ones resemble Haiku most closely! “; Within minutes, the class as a whole can compile almost all the points listed above. They take back their own work and each group rewrites its Haiku to match the form they uncovered. Using this method as a way into poetry can be incredibly rewarding and encouraging as young people automatically feel that they can take control of the work. As a side note, the exact same technique can be used for other poetic forms as well.
Limericks, for example, can be done in the same way with a great deal of success [6, p. 122]. Interacting with the poet The teacher may give the class the first two lines of Haiku only and ask them to fill in the third. By doing this, students take control of the poem and are able to engage with it. They ware able to react openly and honestly to each others’ final lines. In the end, they get excited and want to find out what the final line is. Moreover, when they realism that more than a few of these poems have a ‘punchier’ ending, they try quite hard to predict them.
This allow them to get into the mind of the poet and help them understand what someone, several hundred or even a thousand years ago, was thinking. Oddly enough, this technique backfire though! . Activities where students interact with and engage the poem and access the thoughts of the poet are invaluable to the teaching of poetry. This kind of activity is great for helping students better understand poetic forms, predicting endings or final words for classical sonnets, rhyming couplets, limericks, and song lyrics. Students might not be genius writers but they will start becoming much more prolific in their writing practice.
Writing will no longer be Just a function, it will be starting to become more than that. It will be starting to become a form of play instead of work . Here line poems: Have a syllable pattern of 5-7-5 (TTT should not necessarily be enforce Take place in the present (use pr personal (seldom use names, but ; remarkable literary device despite teaching the teacher may follow as the guided discovery approach, things out for themselves without simple poems each having some of these, split then’ into groups, AR two minutes to write a three-line must be Mitten on the board.
Put pictures are based on, students chi point the teacher is able to activate “These are called Haiku Look at al (therefore) what makes each a Ha resemble Haiku most closely! “; WHOM Larsson all the points listed above. Rewrites its Haiku to match the for poetry can be Incredibly rewarding feel that they can take control of TTL can be used for other poetic form’ same way with a great deal of such, The teacher may give the class TFH the third. By doing this, students t with It.
They ware able to react pop end, they get excited and want to realism that more than a few of TFH hard to predict them, This allow TTT understand what someone, severe thinking Oddly enough, this techs students interact with and engage invaluable to the teaching of poetic better understand poetic forms, p sonnets, rhyming couplets, Limerick Ritter but they will start becomes Writing will no longer be lust a fur It will be starting to become a for 3. Using poems to develop receptive skills.
Using poetry in the classroom is important and MO opportunity for students to work with authentic et they make it possible to work with a whole text, an poem in the same lesson. This can be done success so long as the poems are selected with care and WI language level of the students in mind. Through the deepen their understanding of British contemporary specialist, not a literature teacher, you will find it e favorite reading and listening activities if you wan otter into the classroom [2, p. 103].
Active listening It is crucial for students to be able to get a feel for – more so than for most pieces of prose. This isn’t a and so listening to their teacher read the poem, or perhaps by the poet or by an actor, is essential. As students will need some kind of preparation and t engaged. They might be asked to check predictions discussion, to compare their suggested rhyming co identify stressed words and syllables. You might al listen to recorded or live discussions about poems. Form of a couple of teachers or a group of students even an interview with the poet. The teacher may he natural information gap.
If the school has the f be used: Divide the students into two, or even three Give each group a different cassette or CD and task together to share what they have learned; Remember is a key factor in any activity relating to literature mustn’t forget to encourage art for art’s sake. Listed anything else, for that matter), is to be fostered at every opportunity, because of the obvious benefits which include motivation, vocabulary acquisition and learner autonomy. Many good song lyrics could be termed poetry and treated accordingly in the classroom, copyright rules permitting [21, p. 34].
Active reading Reading activities can centre around not only the poems themselves, but also around background reading sources like biography or criticism. Some reading texts might be produced by other students, perhaps based on internet research, if the school has the facilities; Don’t get stuck in literary analysis unless the students have specifically asked for a literature lesson, but do draw attention to useful syntax, grammar and vocabulary, and beware of common poetic conventions like inverted word order, ensuring that students are aware that this is a deviation from the norms of everyday
English language; Too much analysis can kill enjoyment, and teachers are aiming for the opposite! As a pre-reading activity, the students may be asked to predict what they are about to read. With poetry, this can be done with the title as a catalyst, by revealing the lines gradually on an overhead projector, or by looking at the first verse of a longer poem. Refer students back to what they have read in the text so that they are Justifying their predictions; One might like to prepare some Jigsaw reading exercises too.
With shorter poems, this might involve different groups working on efferent, thematically related, poems, each group having the same set of questions; Exam students might benefit from some discourse analysis: it’s easy to make your own close exercise with a poem, and the students can be encouraged to try to deduce the meaning of new vocabulary from the context; More advanced learners might enjoy identifying register and reading between the lines to infer meaning. Once again, exploit the chance to encourage reading for pleasure too.
Though the teacher might need to spend a bit of time finding a poem that links thematically with the scheme of work, and making sure the copyright rules are respected. Also other issue must be averted: Reject poems that are too long, too archaic or too obscure, or can’t muster any enthusiasm or that the students may not respond to. The wrong poem is worse than no poem at all; Look for what you need to explain pedagogical rationale and the aims of activities very clearly, and students who have disliked studying literature in their own language may need extra motivation; Reassure the students that their other needs, e. . Exam preparation, are being met; It’s worth taking the risk and using poems though, because poems can foster a love of English, ND they are so versatile; Use poems as warmers or fillers and as the catalyst for many different activities with students ranging from Pre-intermediate to Proficiency, and with multilevel classes; Students find a poem a welcome, and sometimes inspirational, change from a course book. Poems can be involving, motivating and memorable, and they can supplement and enrich Just about any lesson [1 5, p. 1]. Poems can be an inspirational basis for, or supplement to, a language lesson where the aim is to develop reading or listening skills. At both lower and higher levels, students can be very excited and proud of themselves for reading and understanding poetry in the original English version and perhaps best of all they start to enjoy a real taste of the culture . 4. Using poems to develop productive skills. Teachers and students enjoy reading and listening to poetry in their own language and perhaps in English too.
Poems are, after all, authentic texts, and this is a great motivator. Poems are often rich in cultural references, and they present a wide range of learning opportunities. Generally, the aim is to teach English through poetry, not to teach the poetry itself, so the teacher does not need to be a literature expert. Most of the tried and tested activities used regularly by language teachers can be adapted easily to bring poetry into the classroom [9, p. 35].
Communicative speaking activities Before doing any productive work, it is good to give the students plenty of pre- reading activities so that they are adequately prepared: As a way into a poem, the teacher might play some background music to create the atmosphere, show some pictures to introduce the topic, and then get students to think about their personal knowledge or experience which relates to this topic; They then talk about the poem, iris with a partner and then in small groups, perhaps coming together as a class at the end to share ideas.
The teacher may monitor and feed in ideas and vocabulary if necessary, give brief feedback on language used and note any language problems to be dealt with at a later date; The teacher may prepare worksheets f speaking activities which might involve a quiz, a questionnaire, sent completed and discussed, statements to be ranked and discussed, a Students might predict endings to verses, the whole poem, or event the end of the poem; Afterwards, the students could talk about thee espouse to the poem, discuss the characters and theme, or debate Role plays work well, interviewing a partner, or even traumatizing the making a video.
Students could compare poems on related topics, w groups working on different poems and then regrouping to pool thee Working on pronunciation. It can be fun to get students to rehearse and perform a poem. The t the poem to them or play a recording, and they identify the stresses class takes a chunk (usually a line, sometimes two) at a time, and on claps out the rhythm while the other half beats time, and then they teacher recites while the students mumble rhythmically, and then a rows they could chant in a whisper, a shout, or show a range of me to work best when it is improvised.
Try to keep it snappy – it’s a high and the teacher has to know and trust each other! The teacher can intensive phoneme work centered on the rhyming patterns in the p are crying out to be exploited in this way. Lie is important to elicit POS before revealing the poet’s choice, and discuss which suggestions h same sound and which don’t, leading to a minimal pair activity [17, Writing activities A poem can spark off some wonderful creative writing. Students can or stanzas individually or in pairs or groups.