I Introduction
Since my subject is British Literature, there has been a lot of thought regarding the priorities of the course. On one hand, my main aim is to help learners enjoy the artistic part of written language. On the other hand, I have been tempted by the idea of using my time to give a more language oriented lesson. The session used to write this essay is one of my first attempts to pursuit the second. When choosing the materials, I picked a short comedy written on the fifties (Pinter 2006, 1254-1259) basically because I thought It could be appealing to my teenager group. After that, the main objective of the session was designed. I understand that the process should be the other way around: first the aim, then the materials (Nunan 1995, 40). Nevertheless I was compromised with two apparently opposed guidelines: of course, the need to base the lesson on British Literature pieces and this ICELT task (C3-1) that requires that vocabulary is taught. Aside from that, there is another difficulty; my students are one week away from their graduation. Obviously, their energy and motivation is not on their learning experience anymore but on their prom (See Appendix 1). Therefore, it was imperative to design a lesson that was both, practical and amusing. In general terms, I can say that it worked, yet, next time I should find a play that is less hard to access.
II Successful areas
II.a Successful areas
Classroom management
Taking into account the fact that students were extremely distracted because of the ending of the school year, I consider that they were sufficiently involved in the lesson. Most of them worked properly during the Practice 1 stage (See Apendix 1) and they were really enthusiastic about the discussions of P...
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...sional development will be to read it thoroughly in order to understand more about classroom management and lesson planning.
Works Cited
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Macmillan ELT. Challenge and Change in Language Teaching. Edited by Jane Willis and Dave Willis. London: Macmillan Heinemann English Language Teaching Oxford, 1996.
Mcdougal Littell. The Language of Literature: British Literature - Teacher's Edition (Purple). Mcdougal Littell, 2006.
Nunan, David. Designing Task for the Communicative Classroom. 1995. Cambridge: Cambridge University Press, 1995.
Pinter, Harold. «"That's All".» En The Language of Literature: British Literature, de McDougal Littell, 1255-1259. McDougal Littell, 2006.
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Rice, Philip. and Patricia Waugh, eds. Modern Literary Theory. 4th ed. New York: Oxford UP,
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Communicating what we want to say, how we want to say it is the goal of expressing ourselves linguistically. For English Language Learners (and their teachers), the ability to do that successfully in their new language presents a challenge. In the content areas of instruction, it is especially important to draw out the information that a student already knows in their native language – even when they do not have the linguistic ability to express themselves in English – in order to assess their level of understanding and engage prior knowledge. Using non-linguistic representations provides a way of bridging that gap between actual understanding and the ability to express that understanding for English Language Learners. For teachers, non-linguistic cues or representations are an effective alternative method in the process of delivering language and content instruction. In this essay, I will discuss why non-linguistic representations work differently than linguistic methods. I will also evaluate selected Teachscape video to discuss how some teachers use these methods, tasks that allow English Language Learner students to develop authentic use of their new language, and the difference between a student-centered and a teacher-centered classroom.
The author hopes that his audience will agree that these changes are advantageous and will become more open-minded on the idea of a diversified English. McNeil directs his article to classroom instructors, linguistic researchers and administrators devoted to the advancement of the teaching and learning of languages, particularly English.
Cuddon, J.A., Revised by C.E. Preston. The Penguin Dictionary of Literary Terms and Literary Theory. 4th ed. London /GB: Penguin Books Ltd, 2000. N. pag. Print.
London: n.p., 1998. Print. fourth Bloomfield, Morton W. New Literary History. Winter ed. N.p.:
Tchudi, Susan J, and Stephen Tchudi. The English Language Arts Handbook: Classroom Strategies for Teachers. Portsmouth, NH: Boynton/Cook, 1999. Print.
The Norton Anthology: English Literature. Ninth Edition. Stephen Greenblatt, eds. New York: W.W. Norton & Company, 2012. 2308. Print.
22 of Studies in English Literature, 1500-1900. Rpt. in Studies in English Literature, 1500-1900. N.p.: n.p., n.d. N. pag.
Swarbrick, A. (2013) Aspects of Teaching Secondary Modern Foreign Languages: Perspectives on Practice. London: Routledge Falmer.
During the course of this class, I have had the opportunity to read literature from authors who come from different backgrounds and places in the world. Some of the stories and poetry we read were straight forward while others were confusing and sometimes required a second look. But one thing is clear, it changed the way I think about literature in a few ways that I wasn’t expecting. Three works in particular stand out in my mind. “ I Wont Let You Go” by Rabindranath Tagore, “To New York” by Leopold Senghor, and Pedro Peramo by Juan Rulfo all had an impact on my thinking for similar yet different reasons. They all incorporate their cultural backgrounds into their work through the setting of their pieces. They also compose their pieces in a way that makes you want to research their history to find the deeper meaning. Finally, a couple of the authors write about things they are emotionally connected to. Some of the examples we will look at, really opened my eyes to going beyond a superficial understanding of literature.
A large part of an English teacher’s job deals with helping students find their own voices amidst the many teachings of their parents and peers. A student’s voice can be their values, their interests, and their perspectives of the world in which they live. Their voice can be their critical questioning of the many situations they face, whether in a text, the school cafeteria, or a park after school. It is the job of an English teacher to aid in finding this voice through their writing. It is by putting words and thoughts down on paper that a student can sometimes feel comfortable enough to take risks and find their true voices. Although traditional grammar instruction has long been thought to improve this skill, this is no longer the case. Instead, by providing a classroom environment in which students are immersed in classic literature from many genres including poetry, short stories, and novels, students will learn how to harness grammar for their own purposes of finding their voice in their writing.
In the process of completing this coursework, I have realised that every teacher should be all-rounded and equipped with adequate skills of educating others as well as self-learning. As a future educator, we need make sure that our knowledge is always up-to-date and applicable in the process of teaching and learning from time to time. With these skills, we will be able to improvise and improve the lesson and therefore boost the competency of pupils in the process of learning. In the process of planning a lesson, I have changed my perception on lesson planning from the student’s desk to the teacher’s desk. I have taken the responsibility as a teacher to plan a whole 60-minutes lesson with my group members. This coursework has given me an opportunity