ENGLISH with Drama

ENGLISHwith Drama

COURSE HANDBOOK2002/ 2003

2002/3 PGCE ENGLISH WITH DRAMA

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Welcome to the course.

I am the subject co-ordinator for English and, with the assistant subject co-ordinator Barbara Imrie and with Drama subject co-ordinator Kate Brockbank, I will be responsible for running the Thursday afternoon sessions where all the English trainees on the course meet.

Barbara and I also act as personal tutors to you all and will try our best to resolve any problems you have with any aspect of the course.

You can ring me at St Peter’s High School, Gloucester, where I am an assitant head on 01452 520594. There is also a fax number: 01452 509209. At home my number is 01453 750697 and you can leave messages there if my daughter is telling her friends all about whatever it is.

Ideally, though, you will contact me by email: my address is: <[email protected]>.


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Barbara Imrie is the assistant English subject co-ordinator. She will contribute to some of the Thursday afternoon sessions, but her chief role will be to monitor your progress by visiting you in your schools. I do not have her contact details to hand, so I am leaving a space here for you to write them in in due course.

Kate Brockbank, of Cirencester Deer Park School, will run the Drama sessions. You can contact her at home on 01453 765906 or at the school on 01285 653447 or,best, by e-mail : <[email protected]>.

This booklet gives the times, dates, locations and content outline for each session. Most sessions are held on Thursday afternoons in College (Francis Close Hall) from 14.15 until 17.15.

However, some are on Thursday mornings and the start times of some sessions are different from the norm. A significant minority are held either at St Peter’s High School, Gloucester or at Cirencester Deer Park; we may also organise trips away from College.

Most sessions are led by me, but the ten drama sessions are led by Kate Brockbank. Sue Goble, of St Peter’s, will give the lead session on Special Educational Needs. Barbara will also contribute. I hope this will give you a welcome variety of approaches and teaching styles!

The Thursday afternoon sessions are compulsory. Please let me know if I create problems for you in my management of them. Staying away becomes a problem for everyone!

During the year I shall bore you rigid telling about just how useful our website is and how much more useful it’s going to be:<http://webspace.dialnet.com/gitep-eng/index.htm>

Philip Rush


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English

The first module focuses on the individual lesson. I use a lot of poetry here as I think if you can teach poetry, you can teach anything, and secondly, because poems offer opportunities to construct tightly focused individual lessons as well as longer small units of work lasting perhaps for a week or two.

This year, for the first time, there will be detailed and explicit work on the national literacy strategy. This will include work on the ‘literacy progress units’.

In the second module, we move on to look at the importance of progression and of a coherent scheme of work. In order to do this we will focus on a number of typical texts. I’d like you all to have copies of these texts, and at the beginning of the booklet you will find a list of books to buy. This is as short a list as I can make it. every one of these books will be useful to you in your career. This is, I assure you, money well spent.

The final group of sessions is designed with your first job in mind. We need to move on to more sophisticated thinking about English teaching and to looking at broader issues.

Throughout nearly all of these sessions, you will be working at your parent school, and you should be able to draw links between the Thursday material and your own observations, teaching and mentor discussions. Please make sure that you do integrate the ‘theory’ of Thursday afternoons with the ‘practice’ of the rest of the week. Try perhaps to discuss the content of the previous week’s subject session and the agenda for the next with your mentor at your weekly meeting.

Assessment of this part of the course is by a series of six coursework pieces and by a final, longer, presentation and assignment. There is also an ICT portfolio, to meet the requirements in that area, to which you will make an important contribution from your work in English.

The first of these assignments will address the area of subject knowledge. This will be explained at the first session and your piece will become the report for that session, along with an ‘action plan’ to help you record progress in subject knowledge.

The remainder of your coursework will consist of session reports. Each of you will report on four sessions - in some cases, you will concentrate on just one section of a session, to make the numbers work out! The report should include three elements: firstly, a concise but accurate record of the content of the session. (Each


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session addresses a discrete part of the ITT national curriculum for English, so by providing a report on each session we are providing evidence that we have covered these areas.) Secondly, you need to add some reference to theory. (This can be a tricky area. I have improved the booklists this year, and have spent a grant received from the partnership in buying reference texts. These will be made available, as appropriate, during the year to you when you write up a session. I am very keen to improve the references to theory in the session reports this year.) Thirdly, you must add some reflection in your own practice, perhaps from your observation of lessons, or perhaps from your teaching.

This is asking a lot of 500 words! Of course, you may feel more comfortable going beyond this in order to make a useful record. All session reports will be photocopied for the group and made available on the website. You ought to down-load these and keep them in your PDP in the section focusing on your main subject.

Each of the six coursework pieces should provide evidence that you are meeting the standards for the award of QTS. Therefore they will form a part of your final PDP.

I should like you to create small portfolios from each session report in collaboration with your mentor. Each week you will be given a short task to help you prepare for the following session; this may be some reading, or it may be to undertake some very limited research into how your school tackles certain issues in the English department. (By discussing the session reports with your mentor you are helping to reinforce the important link between the Thursday afternoon sessions and the school placement.) You need to add to the session report (and remember, most of the time the session report will have been written by someone else) a record of a conversation with your mentor on this topic, and a reflection of your own practice which relates to the topic of the session.

At the end of the course, you should have forty such ‘portfolios’. These will provide you with a record of the work you have done which will help you in your first years of teaching. In this way we can collaboratively produce a reflective handbook to English teaching. You will be surprised to find just how useful this will be!

All the work has to be word processed. You should email your reports to me on <[email protected].> taking care to keep a copy. I should like Microsoft Word or Claris/AppleWorks documents please, as attachments to the email. Please head your reports with the date, your name and the session number. Please also use name and number as the subject of the email.


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Using ICT in this way contributes, of course, to your ICT portfolio.

The final assignment is supposed to provide an opportunity for you to be ‘innovative’ in a proposal of a policy or a scheme of work for your main school English department. You present a seminar paper on this topic to the rest of the group at a final session, and hand in a 1,500 word report to me. Your talk should not repeat what is in the paper, but should focus on your rationale, your research and our thinking, and the report should represent the fruits of these labours. Your main school English department should also be given a copy of your report.

Again, all this will be made clear as the summer approaches. Don’t worry.

The ICT portfolio is essential, and the exact nature of the English contribution to it will be discussed at an early session, as you will see below.

Maintaining your PDP and your mentor assessment sheets is essential and I will try to see two or three each week while we take a break during the three hour session.


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Drama

The first two drama sessions aim to introduce the English national curriculum requirements for drama. As the year progresses, the aim is to develop your understanding of drama as a subject in its own right. All sessions will broadly cover all aspects of teaching drama within English, with each session also having a separate focus on drama skills.

The underlying philosophy of the drama element of this course is that we learn by ‘doing’:

Tell me and I might understand -Show me and I will probably understand -Involve me and I will understand

Most of the drama sessions will have practical activities which we will undertake ourselves. There is no need to wear anything special but you might find a suit and tie, or tight clothing, rather restrictive.

The thinking in each session is underpinned by theory. Reading extracts will be provided where appropriate & Session Reports should refer to the appropriate ones. There are no set books but I am happy to discuss further reading material if you are particularly interested.

A session report will be written after each session. They will be posted on the website with the English ones. At our first drama session we will plan a rota. Each member of the group will write one drama report. (For a whole day session & the DRAMA PROJECT joint responsibilities can be taken.)

Each session report should seek to link your learning• from the reading extract, • the practical work we undertook together in the session • the practical work observed in the session• discussions we had in the sessionwith• any observations from school or• any attempts or planned attempts to apply the ideas in your classroom.


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KS3 Independent reading programmes21.11.02

KS3 Poetry lessons14.11.02

NLS/ KS3:Teaching and assessing speaking and listening skills

17.10.02

Drama: schemes of work etc06.02.03

Drama lessons and planning23.01.03 am/pm

KS3 Schemes of work:Skellig and Macbeth

16.01.03 am/pm

KS3Standardising the assessment of reading & writing

Theatre trip

19.12.02

tbc

Devising a class scheme of work

Description, appreciation and interpretation:Poetry and Paintings

NLS/ KS3:Non-fiction in English

Theatre and drama as learning tools

05.12.02

28.11.02

07.11.02

24.10.02

NLS/ KS3:Teaching and assessing writing skills

Subject knowledge

NLS/ KS3:Teaching grammar

Drama and Shakespeare

NLS/ KS3:Teaching and assessing reading skills

National Literacy and KS3 Strategies

no report requiredIntroduction

10.10.02

03.10.02 pm

03.10.02 am

26.09.02 pm

26.09.02 am

19.09.02 pm

19.09.02 am


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KS3 Meeting Midnight: A scheme of work

30.01.03

Final presentations (2)10.07.03

Final presentations (1)03.07.03

Preparation of final presentations26.06.03

Advanced reading skills19.06.03

Advanced writing skills12.06.03

14-19 Media: Film05.06.03

Post-16 English: content & methodsICT ‘catch-up’

22.05.03

A-level Theatre Studies and Drama (KB/PR)

15.05.03

KS4 Media: Print08.05.03

KS3/ KS4 : Teaching pupils with special educational needs

01.05.03

Drama project (2)03.04.03 am/pm

Drama project (1)27.03.03

KS4 Blood Wedding: A scheme of work

20.03.03

Advanced drama teaching13.03.03

KS4 Assessment of En2 (Reading) and En3 (Writing)

06.03.03

KS4 Assessment of GCSE Drama20.02.03

KS4 Assessment of En1 Speaking and Listening

14.02.03


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PGCE EnglishKey Booklist

The key text for the study of English teaching will be: Learning to Teach English in the Secondary School by Jon Davison and Jane Dowson (Routledge). It’s a good idea to buy your own copy. Please also buy copies of the following books:

Macbeth Cambridge School Shakespeare(Essential you get that edition)

Skellig David AlmondMeeting Midnight Carol Ann DuffyThree Plays/ Federico García LorcaThe House of Bernarda Alba (Penguin)

(Essential you get that edition)

Subject knowledge

It’s very important that we share a common body of subject knowledge, coming as we do from a wide range of academic backgrounds and disciplines. It is a very good idea indeed to be familiar with the following texts. Again, you might like to treat yourself to your own copies!

The English Studies Book by Rob Pope (Routledge) is a wonderfully useful compendium of all sorts of approaches to language and literature, with an excellent glossary.

Rediscover Grammar by David Crystal is an essential book for all English teachers. It’s about rediscovering grammar. Odd title.

Selected Poems by Simon Armitage will give you a great insight into the state of contemporary poetry. He appears on a remarkably high number of syllabuses these days, too. You might also try Salt Water by Andrew Motion.

Shakespeare has a big slice of the curriculum. Cambridge produce a fine edition for schools called The Cambridge Schools Shakespeare. (They also produce other editions with similar names!) Buying and reading Macbeth and Twelfth Night would be very helpful. Macbeth is very popular these days at all levels. If you’re keen you’ll like Teaching Shakespeare by Rex Gibson (Cambridge).


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Selected Reading and Reference List*Key Texts in Bold

General

*English in the National Curriculum (HMSO)*The National Literacy Strategy Framework for English (DfES)*The National Literacy Strategy (DfES)

see website*Learning to Teach English in the Secondary School

Jon Davison,Jane Dowson (Routledge)The Challenge of English in the National Curriculum

edited by Robert Protherough & Peter King(Routledge)

*Teaching English ed Susan Brindley (Routledge)*Writing Frames M Lewis & D Wray (Uni Reading)

What is English Teaching? Chris Davies (OUP)Extending Literacy D Wray & M Lewis (Routledge)Teaching Secondary English David Curtis (OUP)English as a Creative Art L Peach & A Burton (David Fulton)Making Sense, Shaping Meaning D'Arcy, P. NATEThe Challenge of English in the National Curriculum

Protherough, R. and King, P RoutledgeThe Effective Teaching of English Robert Protherough et al (Longman)Why Children Can’t Read Diane McGuinness (Penguin)Collaboration and Writing ed Morag Styles (OUP)Teaching Literature 9 - 14 Michael Benton et al (Oxford)Keep Talking F Klippel (Cambridge)Readers’ Workshops ed Terry MacKenzie (Irwin)Language across the Curriculum Michael Marland (Heinemann)


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Teaching Poetry

*To Rhyme or Not to Rhyme? Sandy Brownjohn (Hodder&Stoughton)*Jumpstart Cliff Yates (The Poetry Society)*Double Vision ed Benton and Benton

HMI: Teaching Poetry in the Secondary School HMSOKey Poets ed Jenny Green (Penguin)Cambridge Poetry Workshop Lynn and Jeffrey Wood (Cambridge)Teaching through Poetry George Marsh (Hodder & Stoughton)

A Book of Matches Simon Armitage (Faber)Moon Country Simon Armitage (Faber)All Points North Simon Armitage (Penguin)

*Meeting Midnight Carol Ann Duffy (Faber)Manifold Manor Philip Gross (Faber)The Wasting Game Philip Gross (Bloodaxe)

*Salt Water Andrew Motion (Faber)Selected Poems Andrew Motion (Faber)


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Drama

Drama from 5 to 16: Curriculum Matters 17 DfEE (HMSO)*Dorothy Heathcote: Collected Writings on Education & Drama

ed Liz Johnson et al (Hutchinson)*Drama for Learning D Heathcote & G Bolton (Heinemann)*Drama Structures Cecily O’Neill et al (Hutchinson)*Games for Actors and Non-Actors Augustus Boal (Routledge)Learning through Imagined Experience

Jonothan Neelands (Hodder & Stoughton)Beginning Drama Jonothan Neelands (David Fulton)Dorothy Heathcote: Drama as a Learning Medium

Betty Jane Wagner (Stanley Thornes)Drama 14-16: A Book of Projects and Resources

Pauline Marson et al (Stanley Thornes)Ideas that work in Drama Michael Theodorou (Stanley Thornes)Gamesters’ Handbook Donna Brandes et al (Hutchinson)English through Drama David Eccles (Hutchinson)Structuring Drama Work Jonothan Neelands (Cambridge)Actor and the Text Cicely Berry (Virgin)The Process of Drama John O’Toole (Routledge)Student Handbook for Drama Brian McGuire (Reason Publishing)

nb where drama texts are out of print, extracts will be provided.

Plays

*Three Plays/(‘The House of Bernarda Alba’)Federico García Lorca (Penguin)

Shakespeare

*Teaching Shakespeare Rex Gibson (Cambridge)*Twelfth Night Cambridge Schools Shakespeare

(Cambridge)*Macbeth Cambridge Schools Shakespeare

(Cambridge)Shakespeare’s Language Rex Gibson (Cambridge)


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Grammar and Language Variety

*Rediscover Grammar David Crystal*An Introduction to Stylistics Urszula Clark (STP)Knowledge about Language ed Ronald Carter (Hodder & Stoughton)Awareness of Language Eric Hawkins (Cambridge)

Advanced Reading and Writing

Literature, Criticism and Style Steven Croft et al (Oxford)Leading Questions Malcolm Peet et al (Nelson)Enjoying Texts ed Mick Burton (Stanley Thornes)Teaching A-level English Literature John Brown et al (Routledge)Critical Practice Catherine Belsey (Routledge)


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Session One.19th September 2002: 9.15 till 12.15

Philip Rush. College, Francis Close Hall.

Introduction and Subject Knowledge Audit.The ICT Portfolio and the PDP.

Requirements for Courses of Initial Teacher Training:National Curriculum for secondary English

A1 All courses must ensure that trainees are taught that pupils’ progress in English depends upon teaching which emphasises:

a effective communication in speech and writing, and listening with understanding:b developing pupils as enthusiastic, responsive and knowledgeable readers:c the reading, writing, speaking and listening skills needed to participate confidently

in public, cultural and working life:d the use of language for pleasure, thinking, learning and personal development.

B22 Trainees must be taught how to use information and communications technology (ICT) to support the teaching of English.

C26 Audit.ITT providers should audit trainees’ knowledge and understanding of English against the English content specified in the KS3 and KS4 programmes of study and the content required to teach English at GCSE.In addition, providers should have regard to the [knowledge and understanding of English required to teach English post-16]. Capability in relation to the post-16 content should be recorded clearly on each NQT’s Career Entry Profile.

C27. In order to teach English effectively all trainees must know and understand:a and use correctly, technical terms which, in addition to those in the National

Curriculum English Order, are necessary to enable trainees to be precise in their explanations to pupils,to discuss secondary English at a professional level, and to read inspection and classroom-focused research evidence with understanding;;

b the nature and role of standard English as the medium through which all subjects are taught, as well as the general, public English used to communicate within the United Kingdom and throughout the English-speaking world.

C28. In order to give trainees a more explicit, critical insight into their own writing; to equip them with tools to help them analyse and evaluate others’ writing, including pupils’ writing; to give trainees the terminology and concepts to understand processes such as language acquisition and development, and to study research evidence on language; and to teach English effectively to GCSE, trainees must:

a know and understand the principles of spoken and written language as a system, including:

i Lexis• morphology and semantics - word structure, meanings, and

derivations;• phonology - the sound system of spoken words;• graphology - the alphabetic spelling system;


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ii Grammatical• the grammar of spoken and written English, including:

- word classes and their functions in sentences;- word order and cohesion within sentences;- construction of complex sentences to include a variety of

clauses and phrases;- co-ordination and subordination in sentences;

• punctuation- its relationship to the phrase and clause structure of

sentences;- its use to denote emphasis;- conventions in writing;;

iii Textual• cohesion - the way that individual words, sentences and

paragraphs work together to convey meaning, including the logic and sequence of ideas;

• organisation, structure and presentation including the structure of written text;

b. a broad understanding of language as a social, cultural and historical phenomenon, including:

i historical changes in English, and its significance as a world language;ii standard English and other dialects;iii multilingualism and the learning of English as an additional language;iv differences between spoken and written English;

c. knowledge about texts and critical approaches to them, including:i analysis of different types of literary and non-literary texts, evaluating their

quality and making judgements about them;ii identification of the conventions associated with different types of text

including non-fiction and media, and how they are used and changed for effect;

iii how information and ideas are presented, depending on point of view, context, purpose and audience;

iv how to analyse texts for implication, undertone, bias, assertion and ambiguity;

v familiarity with:• the historical spread of prose, fiction, poetry and plays, including key

authors from the English literary heritage;• a range of texts written specifically for pupils of secondary school

age;• a range of texts from different cultures;• a range of non-fiction and media texts intended to inform, explain,

argue, persuade and entertain;vi different critical approaches which emphasise different ways of reading

texts depending on whether the focus is on the reader, the writer, the context or the text alone.


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C29. In addition, in order to teach:a. A-level English literature effectively trainees must demonstrate that they:

i have the breadth and depth of knowledge, understanding and skills required for a post-16 course in literary study;

ii can reflect on their own response to texts and consider other readers; interpretations;

iii can use their detailed knowledge and understanding of individual texts to explore comparisons and connections between them, and to appreciate the significance of cultural and historical influences on readers and writers;

b. A-level English language effectively trainees must demonstrate that they:i have the breadth and depth of knowledge, understanding and skills needed

to apply a range of linguistic frameworks to a wide variety of texts both from the past and present;

ii are able to investigate their own and others’ speech and writing and respond critically and perceptively to the different varieties of English they hear and read;

iii are able to select and use the linguistic framework most appropriate for investigation and research into language uses and issues.

PROGRAMMEOutline of the course.

The function of the Thursday sessions.Assessment programme, including ICT and the PDP.

Links between school subject mentor and subject co-ordinator.

Communication networks.Subject knowledge audit.

During this session you should gain a clear understanding about the shape and form of the course; about how your progress will be assessed, and about how you must demonstrate a willingness to increase your subject knowledge in certain key areas.

An important part of this session will be the audit of your subject knowledge against the National Curriculum programme quoted in full above and against the more specific requirements produced by the partner schools which are listed below.

Gaps in your subject knowledge will be filled in any one of three ways:

1 some subject sessions are already planned to address some issues (as you can see later in this booklet) and these include, for example, the teaching of media texts and of grammar;

2 Session Six of the programme will be devoted to specific areas of subject knowledge where perhaps a majority of trainees feel insecure and where


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trainees who are confident in their knowledge may be asked to contribute in the introduction of key topics and ideas to the rest of the group;

3 your own personal research and study, recorded as an action plan to which you add records as the course progresses.

At the session we will discuss subject knowledge and ascertain which topics will be covered by which of the methods listed above.

Your first piece of assessed coursework will stem from the third of these approaches. You must produce a 500 word report on a topic chosen in the light of your personal subject audit, two thirds of which represents a concise summary of your understanding of the topic and the final third of which outlines the objectives and methods you would use in teaching this topic at secondary school level.

You must also submit a personal action plan.

Deadline: Thursday 10th October 2002

General texts:English in the National CurriculumITT National Curriculum for English

Learning to Teach English in the Secondary SchoolJon Davison and Jane Dowson RoutledgeTeaching Secondary English David Curtis Open UniversityWhat is English Teaching? Chris Davies Open UniversityThe Challenge of English in the National Curriculum ed Protherough and King Routledge


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Appendix to Session One:Recommended Children’s Literature

Little Soldier Bernard AshleyPeppermint Pig Nina BawdenNoughts and Crosses Malorie BlackmanSuperfudge Judy BlumeTrouble River Betsy ByarsDear Mr Henshaw Beverly ClearyThe Phantom Hitchhiker Daniel CohenArtemis Fowl Eion ColferThe Arctic Incident Eion ColferTightrope Gillian CrossBoy Roald DahlThe Snake Stone Berlie DohertyBlabbermouth Morris GleitzmanThe Last Chance Gwen GrantBuddy Nigel HintonPoint Blank Anthony HorovitzThe Gizmo Paul JenningsThe Turbulent Term of Tyke Tiler Gene KempHarry’s Mad Dick King-SmithA Wizard of Earthsea Ursula Le GuinThe Silver Chair C S LewisGhost of Thomas Kempe Penelope LivelyMrs Frisby and the Rats of NIMH Robert C O’BrienThe Firework-Maker’s Daughter Philip PullmanHarry Potter and the Philosopher’s Stone J K RowlingHarry Potter and the Prisoner of Azkaban J K RowlingHoles Louis SacherDouble Act Jacqueline WilsonThe Illustrated Mum Jacqueline Wilson

Last year’s Carnegie Medal shortlist:

Love that Dog Sharon CreechThe Rope Maker Peter DickinsonJourney to the River Sea Eva IbbotsonThe Kite Rider Geraldine McCaughreanStop the Train Geraldine McCaughreanAmazing Maurice and his Educated Rodents Terry PratchettTrue Believer Virginia Euwer Wolff


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Appendix to Session One: Specific areas of subject knowledge identified by partner schools

Archway School Twelfth NightFamiliarity with the NEAB GCSE syllabusPoetry for KS3Grammar for KS3

Barnwood Park High School Twelfth NightGrammar (within a literary context)

Bradon Forest School Romeo and Juliet, Twelfth Night,A Midsummer Night’s DreamOur Day Out Willy RussellNewspapers for KS3Media and contemporary issues (advertising etc)Writing ‘for purpose’: deconstructing non-fictionPre-1914 century short stories (including Hardy & Conan Doyle)

Cheltenham Kingsmead School Irish literature,especially Seamus Heaney, for year 12Shakespeare for Year 9: Twelfth Night, Richard III, Romeo and Juliet

Churchdown School Twelfth Night, The Tempest, MacbethNewspapers for KS3Familiarity with the NEAB GCSE syllabusSimon Armitage’s poetry (eg the NEAB Anthology)Media and contemporary issues (advertising etc)Writing ‘for purpose’: deconstructing non-fiction

Cirencester Deer Park School Twelfth NightMedia and contemporary issues (advertising etc)Familiarity with the NEAB GCSE syllabusMixture of Shakespeare texts to ‘dip into’ at year 8 (eg The Tempest, Macbeth)Pre-1914 century short stories(including Hardy & Conan Doyle)Myths and legends for year 7Grammar and basic skills for years 7 & 8


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Cleeve School Familiarity with the NEAB GCSE syllabusWriting ‘for purpose’: deconstructing non-fiction

St Benedict’s School War poetry for Y9Macbeth for GCSEWriting ‘for purpose’: deconstructing non-fictionRomeo and Juliet, Twelfth Night

St Peter’s High School For Y7: Skellig by David AlmondFor Y8: contemporary poetry; media; Pygmalion;The Importance of being Earnest.For Y9: Manifold Manor; Twelfth NightFamiliarity with the AQA/NEAB GCSE syllabus

Stroud High School MacbethWolf by Gillian CrossFireweed by Jill Paton-WalshStone Cold by Robert SwindellsAn Inspector Calls by J B PriestleyMidsummer Night’s Dream & The Tempest for Year 7Pre-20th century literature for KS3

The High School for Girls Midsummer Night’s Dream, The Tempest, Macbeth, Twelfth Night, A Merchant of Venice, Antony & Cleopatra, King Lear, Much ado about Nothing.Skellig D AlmondWelcome to the Real World A CoburnThe Snake-stone B DohertyBadger on the Barge J HowkerDickensOf Mice and Men J SteinbeckA Question of Courage DarkeTom’s Midnight Garden P PearceThe Handmaid’s Tale AtwoodSnow falling on Cedars GutersonPygmalion G B Shaw

Whitecross School Analysis of language persuasive techniquesMedia and contemporary issues (advertising etc)Pre-20th century narrative poetryShakespeare for KS3 and KS4


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Appendix to Session One: The ICT portfolio

Our first challenge in introducing ICT to English lessons lies in gaining the confidence ourselves in using ICT facilities and producing this kind of work.

Therefore, to meet the government requirements for trainee teachers, each trainee will complete a portfolio of work exactly replicating an imagined pupils’ work over a secondary school English scheme of work.

To complete your assessed ICT portfolio, you need to complete all of the following exercises. (Since all your coursework must be word-processed, the first does not need to demonstrated separately.)

Year 7 Word processing skills. For example, a collaborative story begun on a Network as a class and finished individually.

Year 8 Research skills (CD-ROMs and Internet); presentation skills (DTP, layout and illustrations). Production of a programme for an imagined production of a play.

Year 9/ 10 Research and word-processing skills: Using CD-ROM to assist the writing of essays on Shakespeare.

Year 10 Digital camera and/ or scanning skills: Using photographs of school drama lessons, etc, to illustrate points raised by GCSE English Literature coursework essay on a twentieth century play.

Year 11 Presentation and DTP skills: Producing original media artifact to illustrate ideas discussed in English (Media) coursework essay.

Years 12/13 ‘Slide show’ programmes: Using specialist software to prepare illustrative pictorial or written material to support presentations in the classroom. Creating multi-media packages for research and support.


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Session Two.19th September 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Lesson plans, the National Literacy Strategy

objectives and the literacy hour:Long-term, medium-term and short-term

planning.Starter activities.

B4 Trainees must be taught how to place medium and short term planning in the context of longer term planning which indicates how the range of texts and the skills of reading, writing, speaking and listening will be covered and how teaching will be structured to enable pupils to develop and consolidate key skills and understanding.

PROGRAMMEShaping a lesson.

Learning objectives.Techniques for beginning lessons, maintaining pace, ending

lessons.Balancing speaking and listening, reading and writing.

The national literacy strategy.The literacy hour model.

Starter activities.

The National Literacy Strategy : KS3 Framework for EnglishDfESweb-sites: see our website for links


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YEAR SEVEN SCHEME OF WORK

THROUGHOUT YEAR SEVEN

7.2. the reading passport

7.9. language study (spelling and grammar)

YEAR SEVEN TERM ONE

7.1. introductory unit focusing on writing skills ten weeks

7.3. development unit focusing on speaking and listening skillsfour weeks

YEAR SEVEN TERM TWO

7.4. ‘Books in their times’:an introduction to the literary heritage and to the study of English literaturethree weeks

7.5. ‘Skellig’:shared reading with workbooksix weeks

7.6. ‘Global Voices’:an introduction to poetry from other cultures and traditionsthree weeks

YEAR SEVEN TERM THREE

7.7. ‘What’s in the News?’:an introduction to the media and to the language of news

reportingfour weeks

7.8. Ballads and narrative poems:to include a drama performanceseven weeks


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ENGLISH DEPARTMENTKS 3 SCHEME OF WORK

YEAR 7 7.1. Introductory unit focusing on writing skills ten weeks

Unit outline

ALL PUPILS MUST:

read and discuss (at word level, sentence level and whole text level) a variety of texts in a number of key genres including a short story (writing which imagines, explores and entertains), some recipes (writing which informs, explains and describes), a diet leaflet or similar (writing which persuades, argues and advises) and a restaurant review (writing which analyses, reviews and comments) in order to learn about the distinctive features of this writing

plan, draft and write original work in each of these genres including a piece of such writing completed under examination conditions

write a ‘rain journal’ which provides opportunities for personal and expressive writing and for which they will need to have read examples of other journals and notebooks

MOST PUPILS SHOULD:

talk about their reading in pairs, in small groups and in whole class sessions write in a way which conveys meaning clearly and in a way which shows some features of the appropriate style for the topic

learn how to shape their writing to match the required genre

SOME PUPILS COULD:

read aloud their work and offer a commentary on how they tried to achieve relevant effects

provide examples from their own reading and research to supplement the work in the class

copy work out neatly by hand or using ICT for displays


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YEAR 7 7.1. Introductory unit focusing on writing skills

Range of Skills

Writing

Pupils should be taught to draw on their reading and knowledge of linguistic and literary forms when composing their writing.

When writing to imagine, explore and entertain, pupils should be taught to draw on their experience of good fiction; to use imaginative vocabulary and varied linguistic and literary techniques; to exploit choice of language and structure to achieve particular effects and appeal to the reader; to use a range of techniques and different ways of organising and structuring material to convey ideas, themes and characters. Pupils should be taught the structure of whole texts, including cohesion, openings and conclusions.

When writing to inform, explain and describe, pupils should be taught to form sentences and paragraphs that express connections between information and ideas precisely; to use formal and impersonal language and concise expression; to consider what the reader needs to know and include relevant details; to present material clearly, using appropriate layout, illustrations and organisation. Pupils should be taught the structure of phrases and clauses and how they can be combined to make complex sentences.

When writing to persuade, argue and advise, pupils should be taught to develop logical arguments and cite evidence; to use persuasive techniques and rhetorical devices; to anticipate reader reaction, counter opposing views and use language to gain attention and sustain interest.

When writing to analyse, review and comment, pupils should be taught to reflect on the nature and significance of the subject matter; to form their own view, taking into account a range of evidence and opinions; to organise their ideas and information, distinguishing between analysis and comment; to take account of how well the reader knows the topic. Pupils should be taught paragraph structure and how to form different types of paragraph.

Pupils should be taught to plan, draft, redraft and proofread their work on paper and screen. Pupils should be taught to write with fluency and, when required, with speed. In presenting final polished work, pupils should be taught to ensure that work is neat and clear; to write legibly (if their work is handwritten), and to make full use of different presentational devices where appropriate.

Pupils should also be taught to use writing for thinking and learning.


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ENGLISH DEPARTMENT YEAR SEVEN: IMPROVING YOUR WRITING SKILLS

This unit focuses on writing. You will be asked to complete a number of key writing tasks.

You will read a short story. You will talk about how the story is told: how a sense of place and time is created; how characters are introduced; how things get complicated and how they end up. Then, in a small group, you will write a story of your own. You yourself will be in charge of just one part of this final story.

You will read some recipes. You will have to imagine using the recipes to prepare some food. You will be asked to write clear and accurate reports on this imaginary cooking!

You will look at leaflets which give advice about health and people’s lifestyles. You will also read some factual material about diets. Then you will have to write your own persuasive leaflet about a healthy diet.

The fourth piece of writing will be about restaurants. You will read newspaper articles which review food in expensive restaurants. Then you will write about a meal you have eaten - perhaps at home, perhaps in school - in the style of a newspaper review.

Finally you will do a short test of writing to show that your writing skills have improved by doing this work. Your teacher will give your term’s work a mark, and make suggestions about how to continue your improvement next time.


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7.1. Writing to imagine explore

and entertain

Learning Objectives

to appreciate the structure of a piece of narrative writing:an arresting opening;a developing plot;a complication;a crisis;a satisfying resolution;

to be able to write imaginatively with accuracy, control and some originality.

Suggested Activities

reading The Coronation Mob;analysing the story into the ‘S’ pattern;

collaboratively planning a story with these features;

working in small groups on the separate features (one group per feature);

working in (new) small groups on the complete story: revising and harmonising;

producing a matrix of units as a display which can be read in many ways;

groups prepare readings from the matrix and talk about their choices

Resources

copies of Nothing to be Afraid Of(E1)

three weeks

Learning Outcomes

notes in exercise book;

one feature of the story written out as a final draft in exercise books

the ability to write using a narrative style even in examination conditions


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7.1. Writing to inform, explain

and describe

Learning Objectives

to appreciate the way in which recipes explain and describe

the effect of using a mixture of simple and complex sentences in writing a report


reading examples of recipes and discussing what they have in common and the stylistic differences they demonstrate

pupils can compare two (out of three) examples, perhaps working in pairs, using differentiated worksheets;

having read the recipes, pupils write a report of their (imagined) preparation on the dish(showing conversion of the imperative mood (present tense) to the past tense, for example;

pupils write one report in which all sentences are simple and another in which all sentences are complex;

In pairs they discuss differences in the two accounts and use elements from them to write a final ‘best’ account.

Resources

photocopied examples of recipes(E1)

two weeks

Learning Outcomes

pupils should be able to recognise and change the tense of verbs and to recognise the imperative mood of the verb

pupils should be able to see the difference between simple and complex sentences

pupils should be able - even under exam conditions - to write a clear report varying sentence structure to maintain the reader’s interest


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7.1. Writing to persuade, argue

and advise

Learning Objectives

to recognise the way in which language and presentation can be used to persuade,at word level, for example, the use of emotive language, of the imperative and of contrasts; at sentence level, for example, the use of exaggerated statements, of opinion presented as facts, of a sense of climax, and at whole text level, for example, layout and the balance of words and images, the movement from problem to solution (what we must do in response to the article);

to understand the difference between fact and opinion;

to read an article for information and to be able to summarise this information for their own purposes.


reading examples of persuasive lifestyle leaflets and discussing their techniques and effects;

use appropriate articles as a source of information for a lifestyle (diet) leaflet of their own;

to prepare a final copy of a persuasive leaflet.

Resources

photocopied examples of persuasive ‘lifestyle’ leaflets (E1)

photocopied articles about a healthy diet (E1)

three weeks

Learning Outcomes

pupils should be able to recognise persuasive techniques in writing and to talk about them;

pupils should be able to see the difference between fact and opinion

pupils should be able - even under exam conditions - to write a clear piece of persuasive writing which uses language (and possibly presentational devices) to help it persuade.


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7.1. Writing to analyse, review and comment

Learning Objectives

to appreciate the style in which newspaper journalists write reviews

to appreciate and be able to use humour in writing

the importance of drafting and redrafting


reading examples of restaurant reviews, distinguishing fact from opinion and analysis from comment;

drawing up a style checklist for food journalists;

pupils draft, discuss and redraft a review of a meal they have eaten;

they make a fair copy (possibly using ICT).

Resources

photocopied examples of restaurant reviews (E1)

two weeks

Learning Outcomes

pupils should be able to discuss features of style at both sentence level and word level

pupils should be able to see the difference between fact and opinion and between analysis and comment

pupils should be able - even under exam conditions - to write a clear review which combines analysis and comment in an appropriate style


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7.1. Writing to think and learn

Learning Objectives

to learn how writing can be used to record and develop thoughts, ideas and feelings


On wet days, pupils will not use the first ten minutes of their lessons for language study nor for anything else, but will, instead, write an entry for their ‘rain journal’ on a page of their exercise books.

In order to prepare for this, on the first wet day of the term, the class will spend a lesson reading and discussing a selection of journal entries before writing their first ‘rain journal’ entry during the last ten minutes of the lesson (even if by then it has stopped raining!)

Resources

for the initial lesson, photocopied examples of journals to read and discuss (E1)

for subsequent lessons, rain

The Rain Diary

Learning Outcomes

pupils should be able to see how writing can help them clarify thoughts

pupils should begin to recognise the potential of language for developing ideas and for expressing feelings

on wet days pupils should have some fun with their writing


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ENGLISH DEPARTMENT

YEAR SEVEN:IMPROVING WRITING SKILLS

END OF UNIT TEST

This test is to be completed on a clean page of your exercise book.

Choose one of the following tasks and answer it carefully. Your teacher will make it clear exactly how much time you have.

1. A story. When you and your family arrive at a holiday cottage for Christmas with another family, you discover a problem. Write about your arrival and how you discover and solve the problem.

2. A report. You have been on a trip to London or to another big city. You have been asked to write a report on it for a class magazine. Write the report. Make sure you choose carefully the things you report on. Give interesting details and information, not just a list.

3. Persuasive writing. Your school is running a sponsored walk to raise money for a hospital in Kenya where sick young mothers are looked after and fed properly. Write a leaflet that will be given to all the forms in the school which encourages pupils to take part in the walk or to sponsor a friend.

4. A review. Which is the best lesson you have had this term? It doesn’t have to be an English lesson! Write a review of the lesson in which you describe what happened and make your own comments about why it was a successful lesson.


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Session Three.26th September 2002: 9.15 till 12.15


Teaching and assessing reading skills: DARTs.Literacy Progress Units

A3 As part of all courses, trainees must be taught that, if pupils are to make progress in English, teachers must:

a develop pupils as critical readers and extend the range of what they read, recognising::iii that their teaching should stimulate pupils to become active, alert and

enquiring readers, able to respond to texts critically and imaginatively.iv that it is necessary to teach pupils explicitly the ways in which:

• texts are written for a particular readership, purpose or medium;• writers represent authorial and other viewpoints;• texts can be construed and interpreted in different ways.

B7 Trainees must be taught how to teach poetry, including how to:a involve pupils in appreciating, understanding, responding to and writing

poetry, including through teachers and pupils reading poetry aloud;b teach the range of poetic forms sand equip pupils with the technical terms

they need to discuss poems, their meanings and effects, eg metre, metaphor, simile, onomatopoeia, assonance, alliteration, hyperbole, oxymoron, sonnet, ballad.

c group poems to enable appreciation of theme, form, period and author’s voice.

B11 Trainees must be taught how to assess pupils’ reading, through:a determining at the planning stage what pupils should know, understand and be able

to do better by the end of the sequence of work, eg skills of relating one part of the text to another; drawing comparisons; recognising how authors build up to a climax;

b identifying the assessment opportunities and the assessment evidence that will be collected, including what, and which pupils, to focus on for particular purposes;

c building up a picture of pupils’ reading ability through a range of tasks which enable assessment of different types of skill;

d knowing how and when to employ particular assessment tools for particular purposes, including::i open and close comprehension questions - questioning for implicit and

explicit understanding of meaning;ii running record or miscue analysis - to assess reading in detail, especially for

pupils with low standards of literacy;iii standardised diagnostic tests for detailed information about a particular

aspect of reading which is giving cause for concern.


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PROGRAMMEUsing collaborative techniques to deconstruct reading skills.

Finding a full range of active approaches to texts.The importance of reading time in lessons.

Assessing reading skills.Poetry lessons as a model for lesson planning.

The beginnings of an anthology of poetry lessons.Introduction to Literacy Progress Units.

What is a reading curriculum?’ by Robert Protherough inThe Challenge of English in the National Curriculum ed Protherough and King Routledge

The National Literacy Strategy:Transforming Key Stage 3: NLS KS3 Literacy Progress Units

See also DFES standards website

For session 11 on 14th November,please bring a poem of your own choice,

(in sufficient quantity) with some ideas about how to introduce it to a class and what work would come from a reading of it.

Some trainees will be asked to present ‘mini-lessons’ based on this.


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Session Four.26th September 2002: 14.15 till 17.15

Kate Brockbank and Philip Rush.College, Francis Close Hall.

Using Drama to Teach ShakespeareB8. Trainees must be taught how to teach Shakespeare’s plays, including how to:

a explore Shakespeare’s plays as scripts for performance, eg by presenting scenes; improvising around the play’s theme; directing particular passages attending to action, music and set; devising and performing modernised versions of the scenes;

b ensure that pupils gain access to texts and appreciate the force of the ideas, language and dramatic qualities by using a variety of approaches;

c enable pupils to gain an appreciation of Shakespeare’s language including its poetic qualities, how character and action are conveyed through language, and how it differs from contemporary English;

d set Shakespeare’s plays in their social and historical context, eg performance in the Globe Theatre; the nature of monarchy; conventions of love and courtship.

B18 Trainees must be taught how to introduce pupils to drama, in the pupils’ National Curriculum for English, through:

c using role-play, script writing, writing in-role and a range of stimuli to develop pupils’ reading, writing, speaking and listening:

PROGRAMME

Using drama techniques to teach English in a classroom space

Links to Standards3.3.3 Interactive teaching methods & collaborative group-work

3.3.8 Organisation & management of physical teaching space

Teaching Shakespeare Rex Gibson CambridgeMacbeth Shakespeare Cambridge School‘How can we teach Shakespeare?’ by John Haddon inThe Challenge of English in the National Curriculum ed Protherough and King Routledge

When you visit your parent school, a lot will be on your mind. Please find out how drama teaching is managed.

For example, is it a separate subject, or taught solely within English?


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Session Five.3rd October 2002: 9.15 till 12.15


Teaching Grammar.Spelling and punctuation.


d develop pupils’ understanding of language variety, ensuring pupils know:i how and when to use standard English, and the differing degrees of

formality in standard English, eg how vocabulary choices and grammatical constructions vary between a formal oral presentation and group discussion;

ii how to recognise the features of standard English and common non-standard forms, and how standard English differs from other dialects;

iii that standard English can be spoken with different accents;iv the main ways in which language changes, eg through imports from other

languages, because of new technology, and how words change meaning over time;

v about attitudes to language use, eg attitudes to gender in language;vi the differences between speech and writing.

B13 Trainees must be taught how to teach spelling, including how to:a teach pupils strategies which help them to learn and retain spellings, eg use of

analogy; developing visual memory; phonic segmentation; references to root words; looking for words within words;

b teach spelling families and rules systematically, eg by working out spelling conventions from lists of regular words; by grouping words containing the same letter strings together; repeated practice in spelling mis-spelt words correctly;

c introduce pupils to new words with unusual or irregular spellings;d use marking strategies which draw attention to patterns of error and enable pupils to

learn from their mistakes, eg by highlighting the incorrect elements; by reminding pupils of spelling rules which have been broken.

B14 Trainees must be taught how to teach punctuation, including how to:a use well-written texts to demonstrate the function of different punctuation marks and

how they should be used, eg looking at the use of the semi-colon and the colon;b use activities, including reading aloud, through which pupils recognise the role of

punctuation in marking grammatical boundaries and in symbolising and replacing the intonation of speech;

c review and mark pupils’ work constructively, drawing pupils’ attention to the omission and misuse of punctuation marks so that pupils can correct them;

d teach more complex uses of punctuation marks systematically, eg the relationship between commas and clauses; the use of the dash;

e teach self-help strategies, eg requiring pupils to read back their own work to themselves, looking for sentence breaks.


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B15 Trainees must be taught how to teach grammar, including how to:a teach the grammatical terms and conventions listed in the pupils’ National

Curriculum explicitly;b teach pupils the ways in which sentences can be extended, elaborated, abbreviated

and manipulated by reorganising their sequence and the way they are worded, and by adding or removing phrases or clauses;

c give pupils feedback on their written work, including the identification of grammatical errors, eg non-agreement of subject and verb, and provide guidance for development;

d teach pupils to analyse reading materials for their grammatical features and conventions, eg the use of long noun phrases ad the passive voice in information writing;

e set pupils activities which demonstrate the way that grammar works and the factors which influence grammatical choices, eg the changing a first person account into the third person changes the focus of attention and the level of formality.

B20 Trainees must be taught how to teach about language variety explicitly through:a the planned teaching of different aspects of language variation, linking teaching to

both the books pupils read and the texts they write;b using contrasting texts to teach points of comparison and contrast in content, language

and style;c direct comparison between spoken and written forms of language, eg a transcript

together with a piece of reported speech to illustrate similarities and differences in vocabulary and sentence formation;

d the study of language variation and change.

PROGRAMMEThe NLS approach

Teaching spelling: avoiding pitfalls.Teaching punctuation: one stop at a time.

Teaching grammar:The grammar papers, etc.

Grammar in and out of context.Balance benefits against losses.

Knowledge about language:etymology and history.

Travel in Gloucestershire.

‘How do we teach grammar?’ by Jane Lodge and Paul Evans inThe Challenge of English in the National Curriculum ed Protherough and King Routledge

The Grammar Papers QCANot Whether but How QCA


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Session Six.3rd October 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Subject Knowledge: Filling Gaps.

The exact content of this sessionwill have been discussed and determined

during session one.


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Session Seven.10th October, 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.NLS/KS3: Teaching and assessing writing skills.


b develop pupils’ competence in writing, recognising:i the importance of diagnosing pupils’ specific strengths and weaknesses in

writing;ii the need to identify the specific knowledge of linguistic structures and genres

to be covered and to be taken into account when setting up writing tasks and when diagnosing and remedying pupils’ difficulties;

iii the importance of planned opportunities for writing which make explicit the conventions of different genres and the usefulness of each for different purposes;

iv the importance of writing as a tool for learning, eg note-taking; analysis and evaluation.

f provide good models for pupils’ reading writing, speaking and listening.

B12 Trainees must be taught how to teach writing, including how to:a provide models of writing for pupils to analyse and emulate, and use pupils’

reading to provide inspiration for their writing;;b manage the writing process effectively, including:

i how to help pupils generate ideas for their written work;ii how to teach pupils to draft, revise and then proof-read their work, eg

through using a word-processor; by encouraging pupils to read their work to someone else;

iii how and when it is appropriate to focus on parts of the writing process only, eg knowing when bullet points are sufficient; knowing when more than one stage of drafting is unnecessary.

c teach pupils to write in different forms, eg the discursive essay, the ballad and the informative article, through:

i providing examples and teaching pupils how to analyse them for their linguistic and other conventions;

ii using structured approaches to support pupils’ first attempts, eg writing frames;

iii teaching pupils to consider audience, purpose and context when choosing form and language.


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PROGRAMMEThe processes of writing: inspiration and genre.Two sequences of reading and writing exercises:

Beside the Reservoir and Fresh Water.The use of writing frames.

The value of displayed work.The links between writing, reading, speaking & listening,

and assessment.

Making Sense, Shaping Meaning Pat d”arcy Heinemann

‘What is the range of writing? by Jan Sargeant and‘Can we assess and keep sane? A personal view’ by Peter Brown inThe Challenge of English in the National Curriculum ed Protherough and King Routledge

For the next two weeks please buy‘The Independent on Sunday’ and/or

‘The Observer’


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Session Eight.17th October 2001: 14.15 till 17.15


NLS/KS3 Teaching and AssessingSpeaking and Listening.


c develop pupils’ abilities in speaking and listening, recognising that:i there must be planned opportunities to develop pupils’ abilities to speak and

listen and that listening skills need to be taught explicitly;ii task setting, pupil groupings and the purposes for talk are significant factors

in determining the nature and quality of speaking and listening;;iii pupils must be taught explicitly about the oral conventions that are

appropriate in different situations and for different audiences, including the use of standard English;

iv pupils need to experience a number of roles in speaking and listening, eg chair, scribe, spokesperson, advocate, antagonist, supporter, so that they learn to speak in different contexts, and move between roles as the need arises;

v purposeful, focused talking and listening assist learning;vi strategies need to be devised to provide the structure and support that some

pupils need eg those who are shy, inexperienced or suffer speech and hearing difficulties, to be able to contribute to, and make progress in, speaking and listening.

B17 Trainees must be taught how to teach speaking and listening, including how to teach pupils:

a to fulfil the formal and informal roles taken in groups, through explicit teaching of the language appropriate to different stages of the discussion, eg tentative hypothesis; brief summary; probing questions; summing up; handling disagreement constructively;

b to adapt their speech for different purposes, including how to sustain a talk or a monologue, how to use visual aids and organise persuasive points, eg by anticipating and preparing for the opposing point of view;

c the conventions of different types of speech;d to listen attentively and with discrimination, eg using techniques such as making

notes; focused listening; directing attention;e to discern rhetorical devices, irony, persuasive techniques and bias in what is heard.

B19 Trainees must be taught how to assess speaking and listening, including how to:a establish a clear focus for the assessment, eg how well a group member uses questions

and suggestions to organise and sustain ideas in discussion;b make opportunities for the assessment of individual pupils, ensuring that pupils

understand the nature and purpose of the assessment;c build up over time a profile of pupils’ achievements in speaking and listening which

recognises progress in pupils’ speaking and listening skills, eg moving from talking which is largely scripted and read aloud to speaking from notes of the main points to be made;

d distinguish between aspects of pupils’ personality and the way pupils talk, eg not mistaking confidence for a significant contribution.


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PROGRAMMEIn the course of the session,

after work in a large group and in separate smaller groups,we shall produce a brief guide

for KS3 Speaking and Listening teaching,building on the work of last year’s group of trainees,

which is included here as an appendix.We shall also watch parts of the QCA standardising video for

the assessment of KS3 Speaking and Listening.

‘Can we raise the standard of speaking and listening?’ by John Johnson inThe Challenge of English in the National Curriculum ed Protherough and King Routledge


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English at Key Stage 3

Speaking and Listening

INFORMAL DISCUSSION

Discuss a chapter of a book as a classDiscuss part of a video with a neighbour

Explanation of events in a chapter (to recap)

It is sensible to elect a chairperson who will determine who is to speak.

Do not interrupt: listen.

Try to explain your views fully, but without rambling.

Don’t look at the floor when you are speaking! Maintain eye-contact with the rest of your group.

When somebody else is speaking, consider your opinion about what they are saying. Don’t fall asleep


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or forget what the discussion is about!

INFORMAL PRESENTATIONS

Talking about something boring but making it interestingDescriptive analysis and discussion of meaning

(of, eg, poems, paintings or examples from the media)Independent enquiry (research) and feedback

Research the topic carefully: have something to say.

Anticipate questions.

Do not assume your audience knows as much as you do: you’ve done the research!

Speak clearly and confidently; project your voice.

Don’t keep to the same pace of delivery all the time.

Do not remain static: use your body language to show your interest and to reflect the changes of pace in your talk.

Don’t rely on reading, but if you are quoting, for example, don’t bury your head in the text.

Speak with enthusiasm: if you don’t sound interested, your audience won’t be.

Invite questions.

Avoid uncouth or slang language.

Maintain eye-contact with your audience.

Avoid repetition and pretentiousness.


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WORKING IN PAIRS

Reading work aloud to help with redraftingBrainstorming ideas

Composition of poetry, for example

Talk clearly.

Give all your ideas: even if some of them appear to come to nothing, they may prompt better ones.

Co-operate with your partner: don’t compete.

Note all your ideas, to come back to later.

When reading work aloud, read it exactly as written, so that mistakes can be identified.

LISTENING

Listening to a tape-recordingListening to a teacher

Following precise instructionsQuestion-and-answer sessions

Aural comprehensionAural tests

Concentrate on the speaker: look at them while they are speaking.

Make notes.

But think carefully before deciding to take notes: try and remember key points and make them your own before jotting them down in your own words.

Listen carefully: don’t allow yourself to become distracted.


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FORMAL TALK

‘Show and tell’Public Speaking

PresentationsGuest speaker

AssembliesSeminar

Structure your talk carefully so that it begins and ends well.

Make sure you make just a small number of key points - each illustrated with examples. People won’t remember anything if you tell them everything!

Don’t ramble: move to a conclusion.

Don’t look at the floor when you are speaking! Maintain eye-contact with the rest of your group.

Speak clearly and slowly: project your voice.

Show your interest in what you are saying: no-one else will appear to be interested if you yourself are not.

Make sure everyone can see you, and try to maintain eye contact with your audience.

Formal talk requires formal language: be careful will slang and with ‘off the cuff’ remarks.


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DRAMA ACTIVITIES

Act out scenes from a playReading poetry aloud

‘Radio’ dramaGroup story-telling

Role-playImprovising dialogue for a silent video

Hotseating

Speak clearly.

Make sure you are familiar with the text before you read it aloud.

If you are ‘ad-libbing’, think before you speak.

Consider rhythm and pace when preparing a reading.

Vary your voice so that the final result is interesting to listen to.

If improvising, listen to your partners: follow the conventions of drama, and speak one at a time!

Engage the audience. You may not want or need to face them, but you must get them interested in your performance. Think about that when you are preparing.


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DEBATE AND PERSUASION

Formal debatesClass discussionPersuasive talk

Think carefully about your views before speaking: prepare your case.

When preparing your talk, anticipate the views of your opponents and try to get your answers in first!

Avoid being patronising in your talk: avoid sarcasm.

Listen carefully to opposing points of view before responding precisely to them.

Speak slowly and carefully, projecting your voice.

In discussion or open debate, try to follow on from what others have said. Don’t change the direction of the discussion abruptly.

If you have a ‘brain-wave’ while others are speaking, jot it down and wait: never interrupt!

Use gestures to emphasise key points.

To win people over to your point of view, it is good to use a wide range of vocabulary so that others respect your opinion and become interested in your point of view.

Speak calmly at all times: even if you are getting angry, do not use physical force (including raising your voice!) to make your point of view.

Try not to take anything personally. Debates only work if there is a difference of opinion, and someone may be taking up an alternative view just to keep the discussion going, or they may be playing ‘Devil’s Advocate’.


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Session Nine.24th October 2001: 14.15 till 17.15

Kate Brockbank. Cirencester Deer Park School.

THEATRE & DRAMA AS LEARNING TOOLSStarting point for the drama project we will be doing in the spring term. A live

performance of Chocolate; a theatre in education style piece with a citizenship theme. We will look at other ways drama can act as a stimulus for English.

Links to Standards 3.1.5 Learning in out of school contexts

B18 Trainees must be taught how to introduce pupils to drama, in the pupils’ National Curriculum for English, through:

a utilising drama techniques, eg small group playmaking; teaching in-role; tableaux, to involve pupils in examining themes, issues and meanings:

b using performance of texts to develop pupils’ understanding and appreciation of language, dramatic form, character and performance;

d requiring pupils to reflect upon and evaluate features of their own and others’ performance in order to develop their understanding of techniques for conveying meaning.


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Session Ten.7th November 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.NLS/KS3 Non-fiction in English.


a develop pupils as critical readers and extend the range of what they read, recognising::

i the responsibility of the teacher to intervene in pupils’ reading, including their independent reading, to ensure that:• pupils are familiar with a range of information texts, their purposes

and forms.

B6 Trainees must be taught how to teach literary and non-literary texts to whole classes and groups.

B9 Trainees must be taught how to teach non-fiction, througha providing for systematic, structured reading of non-fiction texts using a range of

techniques, eg skimming and scanning;b teaching pupils how to analyse the organisational and linguistic features of different

types of text in non-fiction And use these features in their own writing, eg patterns of cohesion in information texts; emotive language reports; perorations in speeches; use of analogy in persuasive writing.

B12 Trainees must be taught how to teach writing.

Writing Frames Maureen Lewis and David WrayReading UniversityExtending Literacy David Wray and Maureen LewisRoutledge

PROGRAMMEThe NLS approach to non-fiction writing.

Newspapers as a resource:what models for writing can we find?

what different genres?The use of scrapbooks in the teaching of writing.

Considering a hierarchy of skillsfrom KS3 to KS4 and to A-level for the description,

appreciation and interpretation of ‘print’ media.Devising lessons and sequences of lessons for these three

levels, using newspapers as a resource.


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Newspapers & Non-fiction Writing

Newspapers & Non-fiction Writing:

Job Advertisements

Choose advertisements for the same (or similar) career. Discuss the language used, the style, the details, the layout.

Do the style and presentation of the advertisements differ from one publication to another?

Ask pupils to write an advertisement for a post in a chosen career in the style of a specific publication.


Reviews

Provide lots of examples of reviews of different performance art genres: theatre, opera, pop & rock music, dance etc.

Analyse each piece to distinguish between fact and opinion. Discuss the language used to express the reviewer’s own opinions.

How does the language change according to the kind of performance reviewed and according to the expected readership?

Ask pupils to write their own review of something they have experienced: a theatre trip, perhaps, a new album, a television programme.

Consider target audience and the appropriate language.

In addition, ask pupils to write a publicity blurb as if by the producers of the reviewed piece. How will this differ from a review?


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Pictures & Captions(‘Anchoring the Image’)

Provide a heap of newspapers from which pupils choose a selection of photographs. In groups, pupils assemble their photos for a display. Each one is given three captions. You may want to set rules for the captions. For example, a positive caption (one which highlights positive elements of the picture), a negative image; an image which questions our stereotypes, and so on. You might want to invite humorous captions, though this can degenerate into something other than what you want!

The point is that the caption fixes a different image of the photo in our minds. Simple images become more complex; puzzling images are explained. The combination of image and text - the staple of the mass media - provides almost endless opportunities for interpretation.


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Letters to the Editor

Collect examples of Letters to the Editor from a range of newspapers including broadsheets, tabloids and local.

Display and annotate interesting examples, drawing attention to features in the language - such as rhetorical questions and so on - and also to differences in style between one paper and another.

Why are these people writing? How do they support their views? Is their argument clear?

Invite pupils, perhaps in small groups, to discuss their own opinions in response to a group of letters on one theme. Ask them to write a response to one of the letters in the appropriate style.

Finally, consider layout and presentation too.


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Headlines

Pupils collect a heap of headlines. They classify them into appropriate categories. Some, for example will use homonymic or homophonic puns; others will play on inter-textual references to other works; some will use rhyme or alliteration for effect. Others are serious and informative.

Individual groups could present a display of one or other category with annotation and comment.

After this, pupils could provide one another with newspaper stories with the headlines removed. Partners provide headlines which suit the material of the story.

Compare the paper’s own headlines.


Précis

Pupils in pairs read an article carefully and shorten it, drawing attention to its main arguments.

Pupils in conversation should be able to explain and clarify the content of the article and the issues raised.

An opportunity to link reading skills with speaking & listening skills.


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The Dossier

Pupils will do this work best if they have chosen their own stories; they will naturally choose stories which interest them. They will need some guidance about which stories will be most effective.

What we are aiming for is an expansion of the story into a collection of (imagined) source materials, a dossier of sources.

For example, in one piece, Hypnotist’s subject hears voices of Jesus and Moses, we could proved letters to the hypnotist lodging the complaint and the agent’s or solicitor’s reply; a report from a doctor or psychiatrist; other articles, from, for example, a local paper; articles biased in favour of the hypnotist or in favour of the ‘victim’.

If group work on chosen stories, this could be developed into drama: the role-play of the original show, a ‘Vanessa’ style investigation with contributions from the floor (ie the rest of the class!)


Spoofs

Some news items are chosen by the editors because they are so bizarre they appear fantastic.

Practise writing a serious news item about an unbelievable invention. The aim is to have such control of tone that the content - however absurd - is accepted as possible.

Ideal to be made up in the end using DTP software into a ‘genuine fake’.


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Session Eleven.14th November 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Teaching poetry: lessons from poems.

B7 Trainees must be taught how to teach poetry.B12 Trainees must be taught how to teach writing.B24 Opportunities to practise.

Trainees must be given opportunities to practise, in taught sessions and in the classroom, those methods and skills described above.

PROGRAMME

Examples of lessons from poetry.The poems you have chosen

and your ideas for teaching themwill be typed up

and made available as soon as possible.

BIBLIOGRAPHYsee also our website

http://www.poetryclass.net/

To rhyme or not to rhyme? Sandy Brownjohn Hodder & StoughtonJumpstart Cliff Yates (The Poetry Society)English as a creative art Linden Peach & Angela Burton David FultonWhat is English teaching? Chris Davies Open UniversityTeaching poetry in the secondary school An HMI View HMSOKey Poets ed Jenny Green (Penguin)Cambridge Poetry Workshop Lynn and Jeffrey Wood (Cambridge)Teaching through Poetry George Marsh (Hodder & Stoughton)


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Session Twelve.21st November 2002; 2.15 till 5.15


Strategies for Developing Reading Skills.Independent Reading Programmes.

A3 Progression.B5 Trainees must be taught how to encourage individuals to read, through:

a encouraging pupils’ regular, individual, private reading;b providing a range of resources which are likely to appeal to and develop pupil's

different interests, eg through the use of libraries and School Library Services; through the use of book boxes;

c choosing texts which will motivate all pupils to read and extend their reading interests, eg texts which are likely to appeal to boys;

d stimulating individuals to read and supporting pupils’ reading, eg teachers’ recommendations; book weeks; visiting authors; setting aside specific times to discuss pupils’ reading and set targets.

PROGRAMMEA review of the NLS.

Language across the curriculum.

Encouraging private, independent reading:methods and problems; rewards and motivation.

Managing reading in class-time.Whole school approaches to private reading.

Boys and English.Successful schemes and good practice.


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Session Thirteen.28th November 2002; 2.15 till 5.15

Description, appreciation and interpretation:poetry & paintings

All being well, this session will be held at the Stroud House Gallery, Stroud, by the kind permission of Lyn Cluer. We shall meet there at 2.30 pm .

The Gallery is by the station beyond which is a large public car-park. Afterwards there will be time for a social cup of tea in a local bar or café before departure!


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PROGRAMME

Poetry and paintings.The progression from regurgitation to description to

appreciation to interpretation.

There will then follow an opportunity to use the art gallery to explore the potential for art to be used to improve the quality

of pupils’ rewarding and response to texts.


Poetry and paintings: http://www.yale.edu/ynhti/pubs/A4/marshall.htmlDouble Vision ed Benton and BentonPoetry and Paintings ed Benton and Benton

Tate Galleries: http://www.tate.org.uk/home/default.htmPicasso: http://www.tamu.edu/mocl/picasso/tour/tl64.htmlGoya: http://goya.unizar.es/InfoGoya/Obra/DesastresIcn.html

Billy Collins: http://www.bedfordstmartins.com/litlinks/poetry/collins.htmRuth Padel: http://www.rpadel.dircon.co.uk/

Oulipo: http://www2.ec-lille.fr/~book/oulipo/

In 1991, poet Paul Durcan was curator of a show at the National Gallery in Dublin and wrote a collection of poems based on the paintings in that show - Crazy About Women. Give me Your Hand follows a similar idea and is a collection of 50 poems inspired by paintings in the London National Gallery.


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Session Fourteen.5th December 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Devising a class scheme of work:

a recap of planning issues

A2 In order to understand the high expectations that teachers should have of their pupils, to aid planning and to ensure that trainees know how pupils are progressing in English, trainees must be taught the ways in which pupils develop and progress in reading, writing, speaking and listening from age 11-16.

a As part of all courses, trainees must be taught the importance of ensuring that pupils progress in English:i from reading and responding to straightforward and familiar texts to an

appreciation of varied and challenging texts;ii from inference and deduction of simple meanings to grasping other layers

of meaning and an appreciation of writers’ techniques in realising them:iii from use of specific evidence from texts to support views to marshalling

reasons and evidence for a sustained critical analysis:iv from finding and using accessible information to researching, extracting and

synthesising information independently:v from writing in simple, familiar formats for different purposes to

independent composition of texts tailored to their audience and purpose;vi from accurate and consistent use of the conventions of grammar, spelling

and punctuation in straightforward contexts to accurate use of them in more complex texts:

vii from being able to speak to different audiences with some adaptation to sustained adaptation of speech to the needs and interests of different audiences, including more formal speech when appropriate;

viii from identifying the key points of what is heard and how these are presented to a discriminating appreciation of what has been heard, attending to the main messages and their impact, and the detail and techniques used;

ix from contributing and responding in discussion, taking on a number of roles, to making a substantial contribution to the effectiveness of group discussion, including through taking a leading role;

x from exploring a range of dramatic forms and conventions to represent ideas and issues to adapting and using these to generate their own dramatic representations of character and action.

b Trainees on 11-18 courses must be taught how pupils’ progression in English post-16 builds upon the progression identified above.


a develop pupils as critical readers and extend the range of what they read.

B4 Trainees must be taught how to place medium and short term planning in the context of longer term planning.


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PROGRAMMELong-term, medium-term and short-term planning:

what? when? how?Lesson plans; progression; writing skills.


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Session Fifteen.to be arranged

Theatre VisitThere will be a charge for this visit.

(On 12th December 2002,there will be no formal College session.)


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Session Sixteen.19th December 2002: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.KS3 Assessment of reading and writing.

B11 Trainees must be taught how to assess pupils’ reading.

B16 Trainees must be taught how to assess pupils’ writing, including how to:a mark pupils’ work to respond to content as well as accuracy, highlighting both

strengths and weaknesses, and intervening to extend pupils’ writing confidence;b encourage independence and the ability to be self-critical, including self-correction

among pupils;c weigh the different facets of pupils’ writing when coming to a judgement about its

overall quality in relation to its purpose, eg weighing narrative coherence against spelling and presentation.

B23 In order to understand how to evaluate and assess their teaching and their pupils’ learning in English, trainees must be taught:

a how to monitor and assess pupils’ progress and attainment in English, including how to:

i make effective use, in their teaching and in planning future lessons and sequences of lessons, of assessment information on the attainment and progress of pupils;

iv make summative assessments of individual pupils’ progress and achievement in English, through the use of National Curriculum tests, teacher assessment and other ways of assessing individual pupils including the appropriate use of standardised reading tests and spelling tests;

vi judge levels of attainment against the expected demands of each relevant level description for KS3 and KS4 in English.

PROGRAMMEFormative and summative assessments.

Ensuring that planning is informed by assessment.Discussion and assessment of examples of Key Stage 3

written folder work.The KS3 SAT in its new form: a look at Year 7 and Year 8

‘progress’ tests.


http://www.qca.org.uk/ca/tests/standardsmain.asp


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Sessions Seventeen and Eighteen.16th January 2003: 9.15 till 12.15 and 14.15 till 17.15


Schemes of Work for KS3:Modern novel for children: Skellig


a develop pupils as critical readers and extend the range of what they read.


PROGRAMMEDevising schemes of work to teach David Almond’s Skellig

and Shakespeare’s Macbeth to KS3 classes:objectives, methods, assessment.

BIBLIOGRAPHYsee our website

http://www.teenreads.com/authors/au-almond-david.asp


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Sessions Nineteen and Twenty.23rd January 2003: 9.15 till 17.15

Kate Brockbank. Cirencester Deer Park School.Drama lessons and planning

DRAMA LESSONS & PLANNINGA practical session in the drama space which will include lesson observation. We will plan some activities as a group & trial them with pupils

DEER PARK DRAMA STUDIO 9.15 – 5.15 PM KB

Links to Standards 2.7 Strategies to promote good behaviour & establishment of purposeful learning environment2.4 Thinking how pupils learn


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Session Twenty-one.6th February 2003: 14.15 till 17.15


Drama: Schemes of work and lesson trial.

SCHEMES OF WORK/LESSON TRIAL


Links to Standards 3.1.2 Teaching & learning objectives3.1.3 Selection & use of resources


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Session Twenty-two.30th January 2003: 14.15 till 17.15

Philip Rush. Francis Close Hall.

The Scheme of Work: Meeting Midnight.


a develop pupils as critical readers and extend the range of what they read;

b develop pupils’ competence in writing.

B7 Trainees must be taught how to teach poetry

B12 Trainees must be taught how to teach writing

PROGRAMME

How Meeting Midnight. can be used for a scheme of work embracing poetry, reading skills and the development of writing skills.

BIBLIOGRAPHYsee our website


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Session Twenty-three.14th February 2002: 14.15 till 17.15

Philip Rush. Francis Close Hall.

KS4 Teaching & Assessment ofSpeaking and Listening.

A2 Progression.A3 Developing pupils abilities in speaking and listening.B17 Teaching speaking and listening.B19 Assessing speaking and listening.



iii keep records of pupils’ progress and attainment across the English curriculum, including recording progress in the development of pupils’ skills in English;


PROGRAMMEKeeping records

Making assessments and team teaching.Standards at KS4.

Ensuring range and variation.

Bibliography

‘Keep Talking’, F Klippel, Cambridge


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Session Twenty-four.20th February 2003: 14.15 till 17.15

Kate Brockbank. venue to be confirmed.KS4 Assessment of Drama.

ASSESSMENT & GCSE DRAMA

We will watch GCSE pupils work & assess their attainment against assessment objectives. We will look at pupil profiles.

ANOTHER SCHOOL (TBC)2.15 – 5.15 PM KB

Links to Standards 3.2.3 Use of assessment criteria

3.2.7 Reporting orally & in writing


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Session Twenty-five.6th March 2003: 14.15 till 17.15Philip Rush. Francis Close Hall.

KS4 Assessment of Reading and Writing.A2 Progression.B11 Assessing reading.B16 Assessing writing.B23 In order to understand how to evaluate and assess their teaching and their pupils’ learning in English, trainees must be taught:


iii keep records of pupils’ progress and attainment across the English curriculum, including recording progress in the development of pupils’ skills in English;


PROGRAMMEPreparing and teaching KS4 coursework tasks.

Moderation.National standards: trial marking and discussion.

Preparing and teaching the skills required by the examination:

the mark scheme.Trial marking and discussion.

Bibliography

‘An Introduction to Stylistics’, Urszula Clark, STP‘Assessment and evaluation’ in ‘The Effective Teaching of English’,

Protherough, Atkinson, Fawcett, Longman


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Session Twenty-six.13th March 2003: 14.15 till 17.15

Kate Brockbank. Cirencester Deer Park School.Forum Theatre

and other advanced drama teaching techniques.

FORUM THEATRE & OTHER ADVANCED DRAMA TEACHING TECHNIQUESSome of this session will be set aside for trainees focus on areas of teaching drama that they have identified a need for.


Links to Standards 3.3.3 Teaching methods


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Session Twenty-seven.20th March 2003: 14.15 till 17.15


The Scheme of Work: Blood Wedding.A3 As part of all courses, trainees must be taught that, if pupils are to make progress in English, teachers must:


i the responsibility of the teacher to intervene in pupils’ reading, including their independent reading, to ensure that:• pupils’ reading competence is developed by building on and

extending their current experience and interests:• pupils experience reading which is varied and challenging, and

which broadens their reading horizons, including pre-twentieth century prose, poetry and drama and text from different cultures;

ii the need for pupils to develop a sense of literary tradition, recognising the influence of social, cultural and historical factors and making links between texts.

B6 Trainees must be taught how to teach literary and non-literary texts to whole classes and groups, including how to:

a select texts, identifying the chief learning aims and how they will be met through use of a text, eg deciding which aspects of a text will be taught; selecting a particular text because it uses specific structures or techniques;

b introduce a text, eg giving excerpts from the text to whet the appetite;c select those passages or aspects of the text which should receive close attention, and

how to phase and pace the way the text will be taught, eg completing a first reading fairly rapidly so that pupils understand the nature of the text, followed by revisiting different sections in more detail;

d decide how and by whom the text will be read, eg reading aloud by the teacher to bring out the qualities of the text, followed by group reading of the same text for close study of the language; allowing individual pupils a few moments to read privately, before discussion, to form their own impressions; sharing reading in a group by taking turns and pausing for discussion;

e set up activities which will enhance pupils’ engagement with the text and improve their skills in reading, ensuring that the selection of activities is closely matched to the teaching objectives for the section of text being studied;

f enable pupils to appreciate and respond in writing and discussion to the text as a whole.

B18 Trainees must be taught how to introduce pupils to drama.


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PROGRAMMEIn what ways is Blood Wedding a suitable text

for KS4 GCSE study?Devising a detailed scheme of work:

introducing the text;studying the text (individual lessons);

responding to the text (including coursework assessment);comparing Blood Wedding with other texts.


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Session Twenty-eight,27th March 2003: 14.15 till 17.15

Kate Brockbank. College, Francis Close Hall.

and Sessions Twenty-nine and Thirty,3rd April 2003: 14.15 till 17.15


Drama Project.

In the final three drama sessions you will research, devise, rehearse and present a theatre-in-education style project to

take into schools. This will draw together what you have learnt about drama as a teaching tool.

27.03.03 Drama project (1)

PLANNING THE DRAMA PROJECTAn hour spent on planning next weeks practical project

COLLEGE 2.15 – 3.15 PM KB/PR

03.04.03 Drama project (2)

THE DRAMA PROJECTThe morning will be spent planning & rehearsing. The afternoon will be spent presenting to & working with the pupils. We will then evaluate together.

DEER PARK DRAMA STUDIO 9 – 4.30 PM KB

Links to Standards 2.2 Use of elements of the programme of study for Citizenship

1.3 Promotion of positive values & attitudes

3.3.1 High expectations, purposeful learning atmosphere, value of diversity, security & confidence of pupils.

3.3.14 Equal opportunities, challenging stereotypes


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27.03.03 PLANNING THE DRAMA PROJECTAn hour spent on planning next week’s practical project

COLLEGE 2.15 – 3.15 PM KB/PR

THE DRAMA PROJECT AIMS TO

• Give you the opportunity to engage together in a substantial piece of group work• Enable you to explore in depth a citizenship theme through drama• Give you practise in the drama techniques you have learnt over the course• Challenge your own performance skills• Enable you to experience the devising process

and should include

• Citizenship theme with clear learning aims• A performance element• Teacher in Role element• Opportunities for pupils to participate in & out of role with some active element• A range of drama techniques


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Session Thirty-one.1st May 2003: 14.15 till 17.15

Philip Rush & Sue Goble. Francis Close Hall.

Teaching Childrenwith Special Educational Needs.


g structure learning for pupils who are below the level of attainment expected for their age, so that they have access to the full English curriculum, as well as making progress in basic skills in English, recognising the factors which may contribute to low levels of literacy, including:i poor phonic knowledge, poor use of contextual cues and deficiencies in

visual or auditory processing;ii lack of support beyond the classroom;iii disaffection, poor motivation, low self-esteem or lack of confidence because of

previous failure in reading;iv the fact that English is an additional language for the pupil.

[ e recognise that pupils are often competent in languages other than English and that teaching should include strategies to build upon pupils’ knowledge and skills in other languages in order to improve their skills in English;]

B21 Trainees must be taught how to develop effective strategies for improving skills in reading and writing of pupils who achieve below the standard of literacy expected for their age, including how:

a to assess pupils’ reading and writing using techniques such as standardised tests, miscue analysis, observation and discussion;

b to evaluate the quality, readability, content and appeal of texts and to assess their appropriateness to pupils’ chronological age, so that those texts and other resources match pupils’ needs well;

c to differentiate classroom tasks and support poor readers on tasks which are being undertaken by all the pupils in a class;

d with the help of an experienced English teacher and/or SEN teacher if necessary, to provide positive and targeted support for such pupils, eg teaching pupils who are not yet independent readers the phonic, syntactic and contextual skills they need; helping pupils to apply their knowledge of grammar, spelling and punctuation in independent writing.



ii set up activities so that specific assessment in English can be undertaken for all pupils, including the very able, those who are not yet fluent in English and those with SEN, through assessment, at an early stage, of pupils’ strengths and weaknesses in using language;

vii identify both under-achieving and very able pupils in English and how to set targets and make provision for their development.


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PROGRAMMEIdentifying and targeting pupils with SEN:

the code of practice.Classroom techniques for teaching ‘the whole pupil’.

Motivating the less able.Differentiation.

Catering for the able child.Working with classroom assistants.

Bibliography

‘Code of Practice’ DFES: see DFES website)‘Why children can’t read and what we can do about it’,

Diane McGuinness, Penguin


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Session Thirty-two.8th May 2003: 14.15 till 17.15

Philip Rush. Francis Close Hall.11-16 Media. Print.



i the responsibility of the teacher to intervene in pupils’ reading, including their independent reading, to ensure that:

• pupils are familiar with a range of information texts, their purposes and forms.


B9 Trainees must be taught how to teach non-fiction, througha providing for systematic, structured reading of non-fiction texts using a range of

techniques, eg skimming and scanning;b teaching pupils how to analyse the organisational and linguistic features of different

types of text in non-fiction And use these features in their own writing, eg patterns of cohesion in information texts; emotive language reports; perorations in speeches; use of analogy in persuasive writing.

B10 Trainees must be taught how to introduce pupils to the analysis and composition of the media within the pupils’ National Curriculum for English, including newspapers, television and film through activities which:

a demonstrate some of the ways in which meaning is presented by the media and consider how form, layout and presentation contribute to impact and persuasion;

b teach about the institutions that produce media and require pupils to evaluate the messages and values communicated by the media;

c require pupils to consider the ways in which audiences and readers choose and respond to media.

B12 Trainees must be taught how to teach writing.


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PROGRAMMEThe value and the pitfalls of project work.

Planning a project; the problematic.

Considering a hierarchy of skillsfrom KS3 to KS4 and to A-level for the description,

appreciation and interpretation of ‘print’ media.Devising lessons and sequences of lessons for these three

levels, using newspapers as a resource.The Devon Media Booklet.


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Session Thirty-three.Date and time to be confirmed

Philip Rush. St Peter’s High School to be confirmed.A-level Theatre Studies:

an opportunity to discuss the syllabus and to see a practical examination

A2 In order to understand the high expectations that teachers should have of their pupils, to aid planning and to ensure that trainees know how pupils are progressing in English, trainees must be taught the ways in which pupils develop and progress in reading, writing, speaking and listening from age 11-16.

a As part of all courses, trainees must be taught the importance of ensuring that pupils progress in English:x from exploring a range of dramatic forms and conventions to represent ideas

and issues to adapting and using these to generate their own dramatic representations of character and action.

b Trainees on 11-18 courses must be taught how pupils’ progression in English post-16 builds upon the progression identified above.

On this occasion we will form part of the audiencefor the practical Theatre Studies examination.

*The exact date of this exam will not be fixed until around Christmas.


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Session Thirty-four.22nd May 2003: 14.15 till 17.15

Philip Rush. St Peter’s High School, Gloucester.

Post-16 English: content and methods.ICT ‘catch-up’.

A2 ProgressionB29 Teaching A-level English literature and language.

B22 Trainees must be taught how to use information and communications technology (ICT) to support the teaching of English.

PROGRAMMEAn overview of AS and A2 specifications

for English Language and English Literature.A discussion of planning and teaching methods:

long-term, medium-term and short-term planning.There will also be an opportunity at the end of this session

for trainees to catch up with ICT portfolio tasks which they have found difficult for one reason or another: personal

tuition will be available!


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Session Thirty-five.5th June 2003: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.14-18 Media: Film

B10 Media.B23 KS4 Assessment.

PROGRAMMENEAB GCSE Coursework on Media.

Teaching film at KS4: means and ends.Methods and ideas for lessons and a scheme of work.

A-level Media Studies: the paper on film.Preparing students for A-level Media Studies:

a hierarchy of skills.Genre.


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Session Thirty-six.12th June 2003: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.A* at GCSE: Advanced Writing Skills.

A2 ProgressionB12 Teaching writing.B16 Assessing writing.B23 Judging levels of achievement against expected demands.

Identifying very able pupils and making provision for their development.

PROGRAMMEWhat are advanced writing skills?

THE COMMENTARYRecognising genre.

Making and breaking rules.Methods for teaching the very able.


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Session Thirty-seven.19th June 2003: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.The Use of Criticism: Advanced Reading Skills.

B5 Encouraging individuals to read.B6 Teaching texts to whole classes.B11 Assessing reading.B23 Judging levels of achievement against expected demands.

Identifying very able pupils and making provision for their development.

PROGRAMMEA hierarchy of reading skills post-16.

The use of criticism: David Lodge’s parody models in ‘Changing Places’.

Approaching the unseen text:the methods of composer John Cage.The paradox of informed originality.


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JOHN CAGE & COMPOSITION

methodstructureintention

notationdiscipline

indeterminacyinter-penetration

devotionimitation

circumstance


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John Cage & Composition:

methodExamine the following poem. Write a paragraph in which you explain the procedure you think the poet has used in order to complete the piece. Such a paragraph may form a very

useful opening paragraph for an essay of critical appreciation. Moreover, such a paragraph will be a useful starting point for the ‘Imaginative Response’ commentary as

well as being a useful start for your own piece of writing. After all, in that paper, you will have to copy the method of the writer whose piece is under scrutiny.

Sonnetby William Shakespeare

My mistress’ eyes are nothing like the sun;Coral is far more red than her lips’ red:If snow be white, why then her breasts are dun;If hairs be wires, black wires grow on her head.I have seen roses damask’d, red and white,But no such roses see I in her cheeks;And in some perfumes is there more delightThan in the breath that from my mistress reeks.I love to hear her speak, yet well I knowThat music hath a far more pleasing sound:I grant I never saw a goddess go,My mistress, when she walks, treads upon the ground:And yet, by heaven, I think my love as rareAs any she belied with false compare.


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methodExamine the following poem. Write a paragraph in which you explain the procedure you think the poet has used in order to complete the piece. Such a paragraph may form a very

useful opening paragraph for an essay of critical appreciation. Moreover, such a paragraph will be a useful starting point for the ‘Imaginative Response’ commentary as

well as being a useful start for your own piece of writing. After all, in that paper, you will have to copy the method of the writer whose piece is under scrutiny.

Anthem for Doomed Youthby Wilfred Owen

What passing-bells for these who die as cattle?- Only the monstrous anger of the guns.Only the stuttering rifles’ rapid rattleCan patter out their hasty orisons.No mockeries now for them; no prayers nor bells;Nor any voice of mourning save the choirs, -The shrill, demented choirs of wailing shells;And bugles calling them from sad shires.

What candles may be held to speed them all?Not in the hands of boys but in their eyesShall shine the holy glimmers of goodbyes.The pallor of girls’ brows shall be their pall;Their flowers the tenderness of patient minds,And each slow dusk a drawing-down of blinds.


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structureRead and examine the following poem. Write a paragraph (or more) in which you explain

the procedure you think the poet has used in order to complete the piece. Move on to an analysis of the poem’s structure. Ask yourself: What holds the poem together? (But what tensions try to pull it apart?) What contrasts work to give strength to the piece? How does

it start? How does it close? Is there a climax or a ‘slow drawing down of blinds’, for example?

To Autumnby John Keats

Season of mists and mellow fruitfulness,Close bosom-friend of the maturing sun;

Conspiring with him how to load and blessWith fruit the vines that round the thatch-eaves run;

To bend with apples the moss’d cottage-trees,And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shellsWith a sweet kernel; to set budding more.

And still more, later flowers for the bees,Until they think warm days will never cease,

For Summer has o’er-brimm’d their clammy cells.

Who hath not seen thee oft amid thy store?Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,Thy hair soft-lipped by the winnowing wind;

Or on a half-reap’d furrow sound asleep,Drows’d with the fume of poppies, while thy hook

Spares the next swath and all its twined flowers:And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;Or by a cyder-press, with patient look,

Thou watchest the last oozings hours by hours.


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Where are the songs of Spring? Ay, where are they?Think not of them, thou hast thy music too, -

While barred clouds bloom the soft-dying day,And touch the stubble-plains with rosy hue:

Then in a wailful choir the small gnats mournAmong the river swallows, borne aloft

Or sinking as the light wind lives or dies ;And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble softThe red-breast whistles from a garden-croft;

And gathering swallows twitter in the skies.


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intentionExamine the following poem. Consider what you think may have been the poet’s intention. (Don’t think of ringing the poet up; poets are either dead or are very unreliable witnesses.) What does it succeed in doing? Write a paragraph (or more) in which you explain what you think the poet intended. Give the poet the benefit of the doubt: assume that what the

poem succeeds in doing, the poet intended!

Words for Some Ashby Thom Gunn

Poor parched man, we had to squeezeDental sponge against your teeth,So that moisture by degreesDribbled to the mouth beneath.

Christmas Day your pupils crossed,Staring at your nose’s tip,Seeking there the air you lostYet still gaped for, dry of lip.

Now you are a bag of ashScattered on a coastal ridge,Where you watched the distant crash,Ocean on a broken edge.

Death has wiped away each sense;Fire took muscle, bone, and brains;Next may rain leach discontentsFrom your dust, wash what remains

Deeper into damper groundTill the granules work their wayDown to unseen streams, and boundBriskly in the water’s play;


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May you lastly reach the shore,Joining tide without intent,Only worried any moreBy the currents’ argument.


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disciplineExamine the following poem. First, write a series of paragraphs in which you analyse the

poet’s method, the poem’s structure and the poet’s (perceived) intention. (Use quotations appropriately, with introductions and comments.)

Now move on to exploring the discipline the poet has exhibited in completing the poem. How has he used form in an interesting way?

Consider rhyme, rhythm, assonance, and so on.

XXVby Derek Walcottfrom ‘Midsummer’,a series of poems written during a season spent in Trinidad.

The sun has fired my face to terra-cotta.It carries the heat from his kiln all through the house.But I cherish its wrinkles as much as those on blue water.Gnats drill little holes around a saw-toothed cactus,a furnace has curled the knives of the oleander,and a branch of the logwood blurs with wild characters.A stone house waits on the steps. Its white porch blazes.I tell you a promise brought to me by the surf:You shall see transparent Helen pass like a candleflame in sunlight, weightless as woodsmoke that hazesthe sand with no shadow. My palms have been sliced by the twineof the craft I have pulled at for more that forty years.My Ionia is the smell of burnt grass, the scorched handleof a cistern in August squeaking to rusty islands;the lines I love have all their knots left in.Through the stunned afternoon, when it’s too hot to thinkand the muse of this inland ocean still waits for a name,and from the salt, dark room, the tight horizon linecatches nothing, I wait. Chairs sweat. Paper crumples on the floor.A lizard gasps on the wall. The sea glares like zinc.Then, in the door light: not Nike loosening a sandal,but a girl slapping sand from her foot, one hand on the frame.


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notationExamine the following poems. Consider what you would have to say about the method,

structure & intention of each. What do you find to admire in their discipline?Now try to examine how the notation of each poems (its punctuation, its layout, its

shape and so on) contributes to its meaning. Think of the poem as a piece of music: like music it does not exist until it is performed. Think of the notation as a set of clues telling us how the poem should be read. What clues are there in its notation about how it should be

performed?

Either1. Write a commentary on one of the poems, discussing its effects and devices and showing

how these contribute to its themes, and, ultimately, to its meaning.

Or2. Read Ursula Fanthorpe’s poem carefully. Write a poem about the proposed development of over five hundred houses in the quiet and wooded Slad valley outside Stroud. and write a commentary on what you have written, noting any difficulties you encountered. What

insights into the original have you gained from trying to emulate it?


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Sonneti have found what you are likeee cummings

i have found what you are like the rain,

(Who feathers frightened fields with the superior dust-of-sleep. wields

easily the pale club of the wind and swirled justly souls of flower strike

the air in utterable coolness

deeds of green thrilling light with thinned

newfragile yellows

lurch and.press

-in the woods which stutter and

sing

And the coolness of your smile is stirringofbirds between my arms;but i should rather than anything have(almost when hugeness will shut quietly)almost, your kiss


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A Major Road for Romney Marshby U. A. Fanthorpe

It is a kingdom, a continent.Nowhere is like it.

(Ripe for development)

It is salt, solitude, strangeness.It is ditches, and windcurled sky.It is sky over sky after sky.

(It wants hard shoulders, Happy Eaters,Heavy breathing of HGVs)

It is obstinate hermit trees.It is small, truculent churchesHuddling under the gale force.

(It wants WCs, Kwiksaves,Artics, Ind Ests, Jnctns)

It is the Military CanalMinding its peaceable business,Between the Levels and the Marsh.

(It wants investing in roads,Sgns syng T’DEN, F’STONE, C’BURY)

It is itself, and different.

(Nt fr lng. Nt fr lng.)


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indeterminacyExamine the following poems. Consider what you would have to say about the method, structure & intention of each. What do you find to admire in its discipline? How

does each poem’s notation help create meaning?

Do not be afraid if you feel you cannot ‘understand’ a poem. It’s true, you may have read it carelessly; it’s true that for some words you may need a dictionary and for some references

you may need an encyclopaedia, but do not panic. In the exam you must read the poem carefully; and the examiners will give you the meanings of any unusual words and will also gloss any difficult references. What if you’re still lost for words? Maybe the poet is deliberately employing indeterminacy for an important effect. Analyse what it is we don’t know. Has the poet assumed we know things we don’t? How has this assumption

been communicated? What evidence is there for accepting this conflict as deliberate? Read the poems carefully.

Answer one of the following questions: 1. Choose one of the poems. Write a commentary analysing the style, form and content of the poem, showing how its use of language contributes to its meaning and overall effect.

2. Read again the poem by Ben Rice. Write a similar poem of your own in which a dramatic moment is brought to life and write a commentary on what you have written.

What have you learned about Ben Rice’s style in trying to imitate it?


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Last Summerby Lavinia Greenlaw

Not the same road but the same trail of minor incident.Nothing I see happen, but evidence:treadmarks, carrion, smashed grass, the odd shoe.

This time I’m alone; not alone, with my daughter,her fables, her wolf dance, her songs in cod-Arabic.She twists and pinches a loose tooth.

The engine still has its heady cough, first diagnosedin a timbered garage on a mini-roundaboutin a country trading on a lost name.

This thing’s running on fresh air! Did we laugh?Do you remember the housemartins that flew semicirclesover the garage eaves, building or feeding?


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Last Hoovesby Ben Rice

This is your last ride, Jerome.At the end of the beach, under Baggy PointWe have a marksman in the rocks.His barrel will be tracing you all the wayAlong the wash. Think of yourselfAt the point where two lines crossInside the small circle of the gun-sights,And say a prayer as you fly, boy.They coughed a little guilty.They unhitched their ties.My mare had her blinkers on.Her lunge-line dragged on the sand.She chewed on her snaffle.Her hocks jutted like cliffs.Those nostrils were pipes smouldering.The men shouldered in with revolvers.

*

I held the saddle as a drowned child.I heaved it by the pommel,Brushed her down with the curry,And rubbed my tears on her blaze.I lifted a leg as quick as I couldManageAnd felt the rung of the stirrupTake my soul.It was one in the morning.My face was a bruiseAnd my backside ached on the stubben.They screamed: “After the gun, Jerome!After the gun!” And I crossed my heartOver like treasure.My last ride had begun.

*


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Before you die, your whole life flashes before you.Does it hell.Remember Jerome?Muscle and bone. Flanks smacking in the wind.No long summer days, but the circle of the gun-sights.No eager first kiss, but last hooves, Jerome.No gallery of faces, no teenage montage, but skeletal embracesWaves on the hard, dead sand.You know who your friends are Jerome!This blind mare, headlong for the point,The whip in your hand, helpless like an eel,And the wind jabbering a commentary.And the prayer for some pirouette, some recoil,some rearing up, some little whinnying.And the hope for some freak, some kelpie,Some Pegasus, some sudden seabeast, Jerome.To turn and gallop for the sea. SteeplechaseThe waves. Dive among the white horses.


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inter-penetrationArt is often created by the clever and subtle juxtaposition of unlikely pairs of ideas. One

idea - or sequence of ideas - penetrates another set. A poem about autumn becomes a poem of loss for the love of a wife; a poem about birdsong seems also to be about some kind of

despair. A good reader will be able (a) to trace the separate threads which have contributed to the final tapestry of the poem, and (b) to see how the different strands both

reinforce and alter the significance of others: in other words, by recognising patterns in incongruities we can create meaning.

Examine the following poems. Get used to the procedure: consider what you would have to say about the method, structure & intention of each. What do you find to admire in their discipline? How does each poem’s notation help create meaning? What gaps - or ‘aporia’ - are there which hint at delicate levels of indeterminacy?

Answer one of the following questions:

Either Write a critical analysis of one of the poems, paying attention to content, style and

meaning.

Or Write your own poem about fear in which two sets of images are interwoven. Then write a commentary in which you evaluate the success of your work. What have you learned about the techniques of John Donne and Seamus Heaney in writing your own poem.


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The Apparitionby John Donne

When by thy scorn, O murderess, I am dead,And that thou think’st thee freeFrom all solicitation from me,Then shall my ghost come to thy bed,And thee, feigned vestal, in worse arms shall see;Then thy sick taper will begin to wink,And he, whose thou art then, being tired before,

Will, if thou stir, or pinch to wake him, thinkThou call’st for more,And in false sleep with from thee shrink,And then poor aspen wretch, neglected thouBathed in a cold quicksilver sweat wilt lieA verier ghost than I;What I will say, I will not tell thee now,Lest that preserve thee; and since my love is spent,I had rather thou shouldst painfully repent,Than by my threatenings rest still innocent.


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Punishmentby Seamus Heaney

I can feel the tugof the halter at the napeof her neck, the windon her naked front.

It blows her nipplesto amber beads,it shakes the frail riggingof her ribs.

I can see her drownedbody in the bog,the weighing stone,the floating rods and boughs.

Under which at firstshe was a barked saplingthat is dug upoak-bone, brain-firkin:

her shaved headlike a stubble of black corn,her blindfold a soiled bandage,her noose a ring

to storethe memories of love.Little adulteress,before they punished you

you were flaxen-haired,undernourished, and yourtar-black face was beautiful.My poor scapegoat,


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I almost love youbut would have cast, I know,the stones of silence.I am the artful voyeur

of your brain’s exposedand darkened combs,your muscles’ webbingand all your numbered bones:

I who have stood dumbwhen your betraying sisters,cauled in tar,wept by the railings,

who would connivein civilized outrageyet understand the exactand tribal, intimate revenge.


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Session Thirty-eight.26th June 2003: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Final Presentations: Preparation.

Session Thirty-nine.3rd July 2003: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Final Presentations: Group One.

Session Forty.10th July 2003: 14.15 till 17.15

Philip Rush. College, Francis Close Hall.Final Presentations: Group Two.


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Electric Bibliography

Post-16 Englishhttp://www.leics.gov.uk/education/ngfl/literacy/alevel/

http://www.shunsley.eril.net/armoore/is a teacher's site full of goodies

Media Studieshttp://www.adamranson.freeserve.co.uk/sow's.htm

http://ferl.becta.org.uk/display.cfm?page=25&catID=160&variation=50

http://start.at/mediastudies

Advanced Writing Skills

http://www.taverners-koans.com/gilded.html

http://www.writenet.org/virtualpoetrywrkshp.html

http://www.bbc.co.uk/nature/poetry/workshops.shtml

Other poetry exercises are in Jumpstart by Cliff Yateshttp://www.nate.org.uk/cat/7.html#js

Writing Poetry by Matthew Sweeney and John Hartley Williams (London, Hodder & Stoughton, 1997)

http://www.irishwriters-online.com/matthewsweeney.html

Bernadette Mayer

http://epc.buffalo.edu/authors/mayer/http://www.lehigh.edu/~jpl3/mayer_experiments.html


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Issues in the English department

One of the biggest current issues is the choice of GCSE syllabus for September 2002

new GCSE English:OCR:

http://www.ocr.org.uk/news/neweng.htm

AEB A Eng:http://www.aqa.org.uk/qual/gcse/eng_a.html

Bhttp://www.aqa.org.uk/qual/gcse/eng_b.html

Lit Ahttp://www.aqa.org.uk/qual/gcse/eng_lit_a.html

Lit Bhttp://www.aqa.org.uk/qual/gcse/eng_lit_b.html

EDEXCELhttp://www.edexcel.org.uk/edexcel/NEWS.NSF/webnews/11D

812BB78492D2C80256B90003635D3?opendocument

WJEC Enghttp://www.wjec.co.uk/genglish.html

Lithttp://www.wjec.co.uk/genglit.html


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Documents

ENGLISH with Drama