Учебно-методическая разработка по теме «Вызовы» , УМК «Starlight» , 11 класс

ВЫЗОВЫ

Методическая разработка по теме «Вызовы» предназначена для учителей старших классов, работающих по УМК ”Starlight” для 11 класса, а также для учителей, работающих в группах для одарённых детей. Разработка составлена с использованием элементов технологии развития критического мышления и основана на разножанровых текстах. Работу с текстами объединяет единая цель – развитие и совершенствование учебно-познавательных умений, составляющих учебно-познавательную компетенцию, согласно ФГОС второго поколения.

Автор полагает, что использование методов, предложенных в данной статье, будет способствовать формированию познавательных, коммуникативных, регулятивных универсальных учебных действий, а также развитию умения проводить рефлексию своей учебно-познавательной деятельности

В статье представлены тексты различных жанров: отрывок из художественного произведения и рецензия на фильм, Для молодого человека открытого общества важноиметь стиль мышления, для которого характерны открытость, гибкость, рефлексивность. Именно поэтому, автор использует технологию развития критического мышления через чтение и письмо.

Технология развития критического мышления предлагает определенные методы, приемы и стратегии, объединяющие процесс обучения по видам учебной деятельности в пошаговой реализации каждой стадии занятия.

Основная идея ТРКМ - создать такую атмосферу учения, при которой учащиеся совместно с учителем активно работают, сознательно размышляют над процессом обучения, отслеживают, подтверждают, опровергают или расширяют знания, новые идеи, чувства или мнения об окружающем мире.

Работа по теме начинается с обоснования выбора темы, её актуальности. По существу, ученики на данном этапе сами для себя формулируют цель: для чего я буду изучать новую тему, что именно мне нужно узнать, чтобы ответить на собственный вопрос. Возникновение собственных целей и мотивов для изучения нового является основным стимулом для развития творческого и критического мышления.

Работа над текстом состоит из трёх основных этапов:

Получение общего представления о тексте и анализ его структуры.

Прочтение текста, поиск общего языка с автором, понимание текста.

Формирование собственного критического мнения о тексте.

Работа начинается с изучения основ структурирования текста и, прежде всего, с аргументации. Овладев аргументацией, учащиеся способны видеть главные, наиболее важные утверждения автора и подчеркивать их. Необходимо, чтобы учащиеся умели кратко указывать своими словами, каким образом автор доказывает их. Далее можно переходить к анализу структуры. Мы должны видеть анатомию текста – все его составные части и их взаимосвязь, чтобы окончательно сформировать общее представление и понять логику. Анализ структуры текста помогает определить основную тему статьи, сформулировать ее для себя в кратком виде, в нескольких предложениях. Очень важно выразить главную тему именно своими словами, а не заимствовать готовые фразы\слова из названия. Проделав эту начальную работу, мы выявим проблемы, которые автор собирается решить. Это необходимо для критической оценки на последнем этапе чтения.

На втором этапе необходимо найти общий язык с автором, понять, каким образом и в каком смысле он употребляет те или иные ключевые слова — слова, имеющие в тексте большой вес. Учащиеся, работая в группе, паре или индивидуально, предполагают, как они будут применяться в конкретном контексте той темы, которую им сейчас предстоит изучить. На этом же этапе проводится словарная работа.

Задача учителя – пробудить интерес к дальнейшему чтению, вовлечь в работу различные стороны мышления, проанализировать средства художественного произведения или статьи. Это обычно делается при помощи простых, уточняющих, объясняющих, творческих, оценочных и практических вопросов. Такая классификация помогает научить детей самостоятельно задавать вопросы к тексту.

Формирование собственного критического мнения, рефлексия – это третий этап работы с текстом. Завершая чтение, учащиеся делают вывод, насколько удачно автор выполнил свою задачу. Таким образом, закладывается основа для следующего этапа чтения — критической оценки текста. Очень важно отметить, что рефлексивный анализ и оценка пронизывают все этапы работы.

Challenges

1.Make a list of challenges children and teenagers can face. In groups, discuss what brings them about.

2.In groups, discuss the girl’s emotional state.

Text 1

 Stage 1

Read the title of the story, the first and the final paragraphs. Make judgments about the main characters in the story.

Why do you think the story is called Mary?What might happen in the story?

Stage 2 – closereading. Задания для этого этапа даны в тексте и выделены красным цветом.

MARY(abridged and adapted)

Katherine Mansfield

1. On poetry afternoons Grandmother let Mary and me wear white pinafores because we had nothing to do with ink and pencil. (What is a poetry afternoon? What did the girls use to wear on poetry afternoons? Why? )

2. Triumphant and feeling beautiful, we would fly along the road, half singing, half chanting our new piece.I always knew my poetry, but Mary, who was a year and a half older, never knew hers. In fact, lessons of any sort worried her soul and body. She could never distinguish between “m” and “n”. Also in words like “celery” or “gallery” she always said “cerely” and “garrely”. (What mood were the sisters in on the way to school? Why?)

3. I was a strong, fat little child, but Mary was a “weed”. She had a continual little cough. (The word “weed” is usually associated with a plant. Why is it used in connection with Mary?)

4. ‘I can’t stand lessons,” she would say. “I am all tired in my elbows and my feet”.

5. And yet, when she was well she was elfishly cheerful and bright- danced like a fairy- and sang like a bird. She loved boys, and she loved everybody: and, who did not, worshipped her. I suffered untold agonies when girls laughed at her in class and when she answered wrongly I put up my hand and cried, “Please, Teacher, she means something quite different.” Then I would turn to Mary and say, “You meant “island” and not “peninsula”, didn’t you, dear?” (What did Mary’s sister feel when she said, “I suffered untold agonies”?)

6. “Of course,” she would say-“how very silly”. (Summarize the first six paragraphs in your own words. Say what you have learnt about the main characters. Did it help you predict what might happen next?)

But on poetry afternoons I could be of no help at all. The class was divided into two groups that sat on both sides of the room. Two of us drew lots as to which side must begin, and when the first half had said their piece in turn, they left the room. Then Teacher and the remaining ones voted for the best reciter. Time and again I was top of my side, and time and again Mary was bottom. To stand before the girls and Teacher, knowing my piece was joy, but Mary would stand twisting her pinafore, blundering and finally breaking down. There came a day when we all learnt Thomas Hood’s “ I remember, I remember” and Teacher offered a prize for the best girl on each side. The prize for our side was a green-plush bracket with a yellow china frog on it. All morning these treasures had stood on Teacher’s table and we had talked of nothing else. It was agreed that it would be mine. I saw pictures of myself carrying it home to Grandmother- I saw it hanging on her wall and she would think of it as the most desirable ornament in life. But as we ran to school, Mary’s memory seemed weaker and weaker, and suddenly she stopped on the road. (How were poetry afternoons held? Why are the prizes described astreasures? What poem would you recite on an event like this?)

“Kass,” she said, “I think what a surprise if I got it after all; I believe Mother would go mad with joy. I know I should. But then – I’m so stupid, I know.”

She sighed, and we ran on. Oh, from that moment I wanted that prize was given to Mary. I said the “piece” to her three times as we ran up the last hill across the playground. Sides were chosen. Mary was older, her turn was before mine.

The first verse went splendidly. I prayed for another miracle. Why?

“Oh please, God, dear, do be nice! – If you won’t – “But Mary broke down. I saw her standing there all alone, her pale face turned red, and her thin fingers twisting and twisting at the pinafore frill. She was helped to the very end.

When it was over the girls clapped, and the look of pride and love on Mary’s face decided me.

Finally the girls left the room. I waited until the moment the door was shut. Then I went over to Teacher and whispered:

“If I’ve got it, put Mary’s name. Don’t tell anybody, and don’t let the others tell her – oh, please.” Teacher looked astounded.(Why did the teacher look astounded? What prompted Kass to act this way? How can you account for it?)

I ran out and joined the others.

The girls were twittering like birds. Only Mary stood apart, clearing her throat. I knew she would cry if I talked t her, so I paid her no attention. I felt I would run out of school and never come back again. Trying not to be sorry for what I had done – trying not to think of that heavenly green bracket, which seemed big and beautiful enough to give Queen Victoria. At last the door opened, and we came in. Teacher stood by the table. The girls were happy. I shut my mouth hard and looked down at my shoes. (Summarize the paragraph in your own words making an accent on Kass’ feelings. What is the most important idea of this paragraph?)

“The first prize,” said Teacher, “is awarded to Mary Beetham”. A great burst of clapping; but above it all I heard Mary’s little cry of joy. For a moment I could not look up; but when I did, and saw her going back to her place with that green-plush bracket in her hands, it needed great effort to keep back my tears. The rest of the afternoon passed like a dream: but when school broke up, Mary was the heroine of the hour. Boys and girls followed her and all looked at me with pitying contempt, especially those who knew the secret and knew what I had done. (Why?)

On the way home the bus was full of people. We knew everybody in the bus.

“I’ve won a prize for poetry!” cried Mary, in a high, excited voice.

Again she was the centre of attention.

“Well, Kass, you needn’t look so upset,” said Mr. England, laughing at me, “you aren’t clever enough to win anything.”

“I know,” I answered, wishing I were dead and buried. (What’s wrong about the situation?)

I did not go into the house when we reached home, but wandered down to the barn and watched Pat mixing the chicken food. (Why didn’t Kass go straight into the house?)

But the bell rang at last, and I slowly crept up to the nursery. (Explain the use of the word creep in this context.)

Mother and Grandmother were there.

“Well, that’s wonderful, Mary,” Mother was saying. “Such a lovely prize, too. Now, you see what you really can do, darling.”

«That will be nice for you to show your little girls when you grow up,” said Grandmother.

Slowly I slipped into my chair.

“Well, Kass, you don’t look very pleased,” said Mother. “Don’t say you are going to envy your sister”.

Even Mary’s bright face clouded. (Why?)

“You are glad, aren’t you?” she questioned.

“I’m frightfully glad,” I said.

When Mary and I had been sent to bed she sang a little song:

I got a yellow frog for a prize,

And it had china eyes.

Mary’s bed was in the opposite corner of the room. I lay with my head pressed into the pillow. Then the tears came. I pulled the clothes over my head. The sacrifice was too great. I stuffed a corner of the sheet into my mouth to stop me from telling the truth. Nobody loved me, nobody understood me, and they loved Mary without the frog, and now that she had it I decided they loved me less.

A long time seemed to pass. I got hot and stuffy. And the Devils entered my soul. (Paraphrase the sentence.) I decided to tell Mary the truth. From that moment I was happy and light again, but I felt savage. I sat up – then got out of bed. The linoleum was very cold. I crossed over to the other corner.

The moon shone through the window straight on to Mary’s bed. She was soundly sleeping. Very white was her small face. One button of her nightdress was undone, showing her flannel chess protector.

I stood there for one moment, on one leg, watching her asleep. I looked at the green-plush bracket, at that yellow frog with china eyes, and then again at Mary.

Suddenly I kissed her.

Interpretation

Stage 1

Find three important differences between Kass and Mary.

Tell what happens in the classroom on poetry afternoons.

From what moment does Kass wish that Mary would win?

After Kass recites, what does she ask the teacher to do? Who wins the contest?

List two things that people say to Kass after school. What do you think about the ethical aspect of the questions?

At the end of the story, what does Kass decide to do? What does she do instead? Did you expect such an end?

Stage 2 - understandingthe main ideaand problems

Why does Kass help Mary in the contest?

Give at least two reasons that Kass becomes upset after the contest.

Why do you think Kass feels that people love Mary more than they love her?

Some of our challenges often originate from childhood family scenarios. They can be a result of negative messages that were repeated many times to us by our parents or other significant people in our lives. What kind of challenges did Kass meet due to her family scenario?

Stage 3

At this stage pupils analyze the kind of conflicts the sisters face. They are internal and external ones. Pupils also have to unearth the true reasons for conflicts and say how the sisters reveal themselves in these situations. Of special interest, is the way the girls cope with them.

Finally, they answer the question “Do you agree with Kass’s decision to help Mary in the contest? Why or why not?”

Reflection stage

Which part of the text made the strongest impression on you\ formed associations? Is there any idea in the story that you can use in your life?

Pupils speak about their relationships with their siblings. Groups are delegated with the task to discuss the possible reasons for conflicts between brothers and sisters. Then, they make a list of all possible reasons. The next task is to discuss the ways of dealing with possible frictions.

It’s a good idea to write stories in which pupils speak about the sacrifices they had to make in order to help their brothers and sisters.

Text 2

thetimes.co.uk

First night__________________________________________________________________

Lost for words, stuttering Firth leads

acting royalty towards an Oscar win

Film Kate Muir

The King’s Speech

London Film Festival

Geoffrey Rush, Helena Bonham and Colin Firth, who plays King George VI, on the right, battling to overcome a stutter

King George VI

The King’s Speech, which had its British premiere at the London Film Festival last week, is a perfect storm of Englishness. The film showcases our acting royalty: Colin Firth as King George VI and Helena Bonham Carter as his Queen. And the subject matter includes class, corgis, courage, impeccable tailoring, repressive nannying and an upper lip so stiff that it’s frozen.

This is the unlikely but true story of George VI’s battle to overcome his crippling speech defect- and the potential nickname “Mad King George the Stammerer”.

Firth is first seen when he is still the Duke of York, or “Bertie” to his family, speaking – or rather stuttering – to a crowd at Wembley. Their embarrassed faces are a reproach, as the Duke’s c-c-consonants reverberate through the microphone. His wife, the Duchess, looks tearful. Speech therapists are called in to no avail, but plenty of royal humiliation and anger follow.

At last, the Duchess finds a most unconventional Australian speech therapist, Lionel Logue, played by Geoffrey Rush with dry wit and a long lugubrious face. Logue insists on first-name terms with his patients; the Duke prefers “sir”.

“My castle, my rules,” says Logue. And here the fun begins. Firth and Rush make a brilliant odd couple. The Duke is brittle and uptight unable to forget his position in society.

Yet Logue – a commoner from the colonies – starts finding the cracks. The Duke’s stutter goes back to his neglected childhood, where he was brought in by a nanny for the “daily viewing” by his parents.

Firth’s performance will be studied by would-be actors for years to come. Never has throat or an Adam’s apple worked this hard on screen. Firth’s bode seems to be stiff with royal blood, and he constantly wears a terrified constipated look, because the words will never come.

In the background, King George V is dying, and Edward VIII take s the throne only to abdicate in 1936. Suddenly, the stuttering second son is King George VI, and his speech defect looks like becoming a national calamity as war looms. How will he compete with his enemies: Hitler and Mussolini?

Cue trouble and Winston Churchill, hammed up by Timothy Spall in a clunker of a role.

Tom Hooper, the director, should have filmed Churchill in the shadows, or on the telephone – this is one of the few flaws of the simply shot film.

David Seidler wrote the original as a play and many of the scenes are two-handers. Yet the settings behind the scenes at Buckingham Palace with the young Princesses Elizabeth and Margaret and their corgis, and a kilted Christmas at Balmoral, will be manna to a nation presently addicted to Downton Abbey.

But this Firth’s film, a moving performance that trumps even the recentA Single Man. As George VI, Firth has Oscar written all over him in the finest copperplate.

On general release, January 7

Stage 1

It is very important to have aclear sense of the nature of what you will be reading.

First, look up the word stutter in the dictionary and say what kind of defect it is and what problems it can provoke.

Skim the text to get an overview of the content and organization (theheadnotes, the introduction, the illustrations, the captions,etc.) and identify the type of the text, the target audience (Are you one of the audience?), the content.

To appreciate a film based on a real event, one needs to know its historical and cultural background. In the text, underline the sentences that help you shape an idea about the national identity of the English people (What is Englishness according to the author? Try to explain the idea behind each characteristic.) and the historical events that took place at that time.

Place the life story of King George VI in its historical and cultural context. Try to explain why good communicative/oratorical skills are important to politicians/political leaders; why they were vital for George VI.

How is the text related to the main topic?

Stage 2

Write down three most important things for you when you choose to see a film. (the genre, the price of the tickets, the actors, etc) Then, think of adjectives that go with these categories.

Read the text and underline the words and expressions the author uses in relation to the film’s strengths. Do you agree with the author’s choice of vocabulary? If you haven’t seen the film, would these words encourage you to see it?

What adjectives/verbal phrases/nouns does the author use to describe the kind of challenges King George VI confronted? Do you think these words help the author maintain the interest?

“ and here the fun begins”. What is the function of this sentence in the review?

Firth and Rush make a brilliant odd couple. What stylistic device is used in the sentence? Why is it used? Explain the idea behind the sentence.

Stutter is a huge challenge to face. What makes it more serious in King George VI’s case?

Stage 3

Has the article enriched your understanding of the English culture? What did learn about the national identity of English people?

Do you agree with author’s opinion of the film? Why/why not?

Do you know someone who has successfully battled with their physical defect? Say a few words about this person.

Changes in life can certainly be regarded as challenges. Do you agree?

People in different cultures see changes in a different way.

Connect all the ideas in a logical order and read them out loud. How do you see the challenges? What challenges have you experienced in your life? How did you confront them?

Challenges can be stepping-stones or stumbling blocks. It depends on how you see them. Anonymous. Comment on the quotation.

The following are five most common types of conflict in literature:

Conflict 1. Man Versus Self

Conflict 2. Man Versus Society

Conflict 3. Man Versus Man

Conflict 4. Man Versus Nature

Conflict 5. Man Versus Supernatural

Compare the conflicts the characters in the texts confront and say what/who helped them cope with them.

Литература:

1.Федеральный компонент государственных образовательных стандартов начального общего, основного общего и среднего (полного) образования. В книге: Новые государственные стандарты школьного образования по иностранному языку. 2-11 классы. Образование в документах и комментариях.- М.: Астрель, 2004.

2.Баранова К.М., Дули Дж., Копылова В.В., Мильруд Р.П. Английский язык. Книга для учащихся. 11 класс-М. Express Publishing. Просвещение, 2014.

3.Шаталова Т.И. Англо-русский тематический словарь. М.:Издательство «Русскийязык», 1999.

4.Macmillan Collocations Dictionary for learners of English, UK, 2010.

5.Oxford Learner’s Thesaurus. A dictionary of synonyms. Oxford University press, 2012.

6.Гершунский Б.С. Философия образования XXI века. - М.: Совершенство, 1998. - 608с.

7.Бутенко А.В., Ходос Е.А. Критическое мышление: метод, теория, практика. Учеб.-метод. Пособие. М.: Мирос, 2002.

8.Бахарева С.Э. Психолого- педагогические аспекты развития критического мышления через чтение и письмо. Новосибирский институт переподготовки и повышения квалификации работников образования. Учебно-методическое пособие.. Новосибирск: изд-во Новосибирского института повышения квалификации и переподготовки. работников образования, 2003.

Адрес публикации: https://www.prodlenka.org/metodicheskie-razrabotki/350428-uchebno-metodicheskaja-razrabotka-po-teme-vyz