Bücher veröffentlicht von National Council of Teachers of English

In the dialogical classroom, students use writing to explore who they are becoming and how they relate to the larger culture around them. Dialogical writing combines academic and personal writing; allows writers to bring multiple voices to the work; Involves thought, reflection, and engagement across time and space; and creates opportunities for substantive and ongoing meaning making. How can we, as teachers, carve out space in our literacy classrooms for a more dialogical approach to writing? Focusing on adolescent learners, Bob Fecho argues that teachers need to develop writing experiences that are reflective across time in order to foster even deeper explorations of subject matter, and he creates an ongoing conversation between classroom practice, theory, and research to show how each informs the others. Drawing on NCTE Beliefs about the Teaching of Writing, this book illustrates the empowerment that can result from dialogical writing even as it examines the complications of implementing this approach in the classroom. ¿In this book, you will discover how to fashion a dialogical writing program that meets your and your students' needs. Fecho helps you get there by providing a window into the classrooms of middle and high school teachers who are engaged in a dialogue with their practices. You'll see how these teachers enact practice in different contexts, and you'll hear them explain the essentials of their teaching as they demonstrate how dialogical classrooms depend on context and are forever in a state of becoming. The dialogical classroom: often messy, complex, thoughtful, and inspired, but most of all, full of potential.

Effective student writing begins with well-designed classroom assignments. In Designing Writing Assignments, veteran educator Traci Gardner offers practical ways for teachers to develop assignments that will allow students to express their creativity and grow as writers and thinkers while still addressing the many demands of resource-stretched classrooms. She explores how to balance pedagogical and curricular goals with the needs of multiple learners while managing everyday challenges such as mandates, testing, and the paper load.Gardner uses her classroom experience to provide ideas on how to effectively define a writing task, explore the expectations for a composition activity, and assemble the supporting materials that students need to do their best work. This book includes dozens of starting points that teachers can customize and further develop for the students in their own classrooms. A companion website also offers readers resources such ascomplete lesson plans available on www.readwritethink.orglinks to relevant NCTE standards, position statements, and guidelinesan online bibliography that includes links to related NCTE journal articleslinks to online lesson plans, teaching resource collections, and education policy issues

Edited by Kristine Hansen and Christine R. Farris, this collection explores various options that students have for "taking care of" the first-year college writing requirement, including AP tests, concurrent enrollment/dual-credit courses, the International Baccalaureate diploma, and early college high schools.The first-year college writing requirement is a time-honored tradition in almost every college and university in the United States. Many high school students seek to fulfill this requirement before entering college through a variety of programs, such as Advanced Placement tests, concurrent enrollment programs, the International Baccalaureate diploma, and early college high schools. The growth of these programs raises a number of questions, including: Is this kind of outsourcing of instruction to noncollege providers of educational services something to be resisted or embraced?, What are the possible benefits and detriments to students, their parents, their teachers, and the educational institutions?, What standards should be met with respect to student readiness, teacher preparation, curricular content, pedagogical strategies, and learning outcomes? How can we create a seamless K-14 educational system that effectively teaches writing to students in the transition from adolescence to adulthood? Contributors to this volume-including high school teachers, professors at community colleges and universities, and administrators at both the secondary and postsecondary levels-explore the complexity of these issues, offer best practices and pitfalls of such a system, establish benchmarks for success, and lay out possible outcomes for a new educational landscape.

Wheeler and Swords show K-6 teachers how to use code-switching and contrastive analysis to help students use prior knowledge to translate vernacular English into Standard English. When African American students write or say "Mama jeep is out of gas" or "The Earth revolve around the sun," many teachers--labeling this usage poor English or bad grammar--assume that their students have problems with possession or don't know how to make subjects and verbs agree. Forty years of linguistic research, however, demonstrates that the student is not making errors in Standard English--the child is writing or speaking correctly in the language patterns of the home and of the community. Building on the linguistic knowledge that children bring to school becomes the focus of this book, which advocates the use of "code-switching" to enable students to add another linguistic code--Standard English--to their linguistic toolbox. Rather than drill the idea of "Standard English" into students by labeling their home language as "wrong," the authors recommend teaching students to recognize the grammatical differences between home speech and school speech so that they are then able to choose the language style most appropriate to the time, place, audience, and communicative purpose. University researcher Rebecca Wheeler and urban elementary teacher Rachel Swords offer a practical, hands-on guide to code-switching, providing teachers with step-by-step instructions and numerous code-switching charts that can be reproduced for classroom use. The success of Wheeler's presentations in urban school districts and the positive results that Swords has observed in her own classroom speak to the effectiveness of the research and of this approach. While the book focuses on language use in the elementary classroom, the procedures and materials introduced can be easily adapted for middle and high school students.

All good writing is creative. But it's easy to forget this when writing is used mainly as a tool to assess reading comprehension and writers are judged by how well they conform to prescribed standards of "proficiency." Teacher-poet Judith Rowe Michaels describes how she refocused her ninth-grade English course to help students explore writing-their own and the assigned literature-as an art form with the same potential for creativity as, say, Web design, filmmaking, or music. Expanding their writing repertoire, students discover that to be memorable, a poem, essay, or story requires imagination, a sharp eye, a tuned ear, an engaged but open mind, and an interest in language, structure, and pace. As they draft, students create class criteria for revising, assessing, and grading each new piece and gradually realize they are all in training to catch their "tiger"-a free-choice, three-week writing project. How Michaels's students engage with their free-choice project, incorporating lessons learned from writing in response to literature, illustrates the importance of creativity to writing in all genres. If you're looking for ways to motivate your young writers, this book is a doorway into the classroom of a master teacher who invites all of us to rediscover what reading and writing should always do-stretch our imaginations.¿¿"[This book] is about teaching adolescents to write with control and abandon, to deepen their understanding of how language and genre work, to write with the eye of a reporter and the heart of a novelist." -Tom Romano, professor of English education, Miami University, and author of Crafting Authentic Voice and Zigzag."To read Catching Tigers in Red Weather is to be reminded of what can happen when teachers-and their students-have the time, the respect, and the colleagues that fuel good work. So a book that might have been about the private world of imaginative writing turns out to be about a very public issue: equity. It urges us to ask, 'Could it be that imagination is becoming a luxury good in contemporary America?' When will teachers and students everywhere have what was possible at Michaels's school?" -Dennie Wolf, author and independent scholar."[This book] reminds all of us, in the midst of state adoption of new standards and assessments, of the important role of creative writing in the development of composition skills and attitudes." -Bruce Penniman, National Writing Project teacher-consultant and author of Building the English Classroom

Edited by James Bucky Carter, this collection of essays by classroom teachers demonstrates how to pair graphic novels with classic literature (including both canonical and YA lit) in ways that enrich students' understanding of both and that thoroughly engage them in literacy.As teachers, we're always looking for new ways to help our students engage with texts. James Bucky Carter and the contributors to this collection have found an effective approach: use graphic novels! Carter and his contributors tap into the growing popularity of graphic novels in this one-of-a-kind guidebook. Each chapter presents practical suggestions for the classroom as it pairs a graphic novel with a more traditional text or examines connections between multiple sources. Some of the pairings include: The Scarlet Letter and Katherine Arnoldi's The Amazing "True" Story of a Teenage Single Mom; Oliver Twist and Will Eisner's Fagin the Jew; young adult literature and Marjane Satrapi's Persepolis; Dante's Inferno and an X-Men story; Classic fantasies (Peter Pan, The Wizard of Oz, and Alice in Wonderland) and Farel Dalrymple's Pop Gun War; traditional and graphic novel versions of Beowulf. These creative pairings open up a double world of possibilities-in words and images-to all kinds of learners, from reluctant readers and English language learners to gifted students and those who are critically exploring relevant social issues. A valuable appendix recommends additional graphic novels for use in middle and high school classrooms. Packed with great ideas for integrating graphic novels into the curriculum, this collection of creative and effective teaching strategies will help you and your students join the fun.

Writing for English teachers who are overworked and overwhelmed, Bruce Penniman offers personal reflections, classroom anecdotes, teaching materials, and student work while presenting strategies for managing the demands of the secondary English classroom.After nearly four decades in the classroom, Bruce M. Penniman knows what works (and what doesn't!) when it comes to teaching English. Penniman draws on his own experiences-his successes, of course, but also the mistakes he's made and the misgivings he's had-to offer guidance and support for managing the myriad demands of teaching secondary English. From addressing the numerous subdisciplines within English to making individual accommodations, from dealing with being the primary locus of literacy instruction in the school to everyday organizational strategies, Penniman helps teachers find a way to impose order on what often seems like an overwhelming array of responsibilities. Focusing on all aspects of building a successful English classroom, Penniman offers unique and proven strategies on topics such as planning for the long term; designing writing programs and literature curricula; creating effective assessment systems; implementing instructional strategies for writing, literature, media/technology, and "basic skills;" examining the curriculum through the lens of multiculturalism; attending to the needs of all students-especially those who require accommodations; and giving back to the profession: pursuing a professional life outside the classroom.

Institutional, organized expressions of male coming-of-age encourage Americans to believe that emergent masculinity is an enduring natural phenomenon and an essential component of American identity, and that the outcomes of the transformation process from boy to man have important consequences for the United States as a nation. Leigh Ann Jones explores performances of developing young male identity in case studies from twentieth- and twenty-first-century federal and civic organizations that recruit boys and young men using appeals to American national identity, often coding these appeals as character building. Examining documents from the Boy Scouts of America during the Progressive Era, the Sigma Chi college fraternity in the 1960s, and the US Army's "Army of One" recruiting campaign in the early 2000s, Jones explicates rhetorical strategies that position the young male figure as a source of enduring national identification and as a citizen who is the product of a distinct trajectory of development and transformation. These strategies emerge from an intense interest among community leaders in the psychology of boys and are characterized by language that directs and shapes boys' consciousness of themselves as males, tying that consciousness to an American identity. Applying Kenneth Burke's concept of rhetoric as identification, particularly his understanding of constitutive rhetoric, Jones outlines a framework for understanding how such organizations for boys have endured, along with their myths about masculinity, in spite of the ways in which these stories are troubled by economics, gender, race, and sexuality.

Joanna Dolgin, Kim Kelly, and Sarvenaz Zelkha offer real-world examples, sample student work, step-by-step instructions, and handouts to help teachers incorporate authentic forms of assessment into the middle and high school curriculum. This practical guide is designed to help English language arts teachers incorporate authentic forms of assessment into the middle and high school curriculum. Grounded in the latest theories, Joanna Dolgin, Kim Kelly, and Sarvenaz Zelkha offer real-world examples, sample student work, step-by-step instructions, and handouts to help teachers: Incorporate independent reading and authentic assessments through lessons, handouts, and examples of student work; facilitate a schoolwide end-of-semester roundtable assessment and portfolio presentations for middle and high school students and visitors; and design twelfth-grade assessments that draw on the independent reading and critical writing experiences students have had throughout their academic careers. The book also provides sample curriculum and highlights the assessment tools of three different teachers who have extensive experience teaching sixth through twelfth grade. Tips are offered on developing a yearlong curriculum focused on social, political, and emotional relevancy to students' lives, as well as cultivating the skills needed to succeed on standardized tests.

This collection of essays about audience awareness from professionals in the English, public relations, and writing fields is based on the latest work of scholars Lisa Ede and Andrea Lunsford. This collection builds upon Lisa Ede and Andrea Lunsford's groundbreaking work to examine the rhetorical concept of audience as it relates to twenty-first century teaching and learning. Editors M. Elizabeth Weiser, Brian M. Fehler, and Angela M. González bring together compositionists from the departments of English, communications, public relations, and writing to offer insights that serve as a guide for incorporating audience awareness into the contemporary classroom. Contributors engage in a dialogue with Ede and Lunsford's previously published essays "Audience Addressed/Audience Invoked: The Role of Audience in Composition Theory and Pedagogy" and "Representing Audience: 'Successful' Discourse and Disciplinary Critique," as well as their new essay, "Among the Audience: On Audience in an Age of New Literacies," written especially for this collection. Through these engagements, contributors offer insights on audience from divergent perspectives--composition pedagogy, new media studies, service learning and professional writing, diversity, and rhetorical and literary theory--that establish a third category in the addressed/invoked binary, an "audience updated" that takes various professional and cultural forms but is most evidently "audience interacting."

This seminal book is a practical, comprehensive, and illuminating guide for both new and experienced teachers that confronts the challenges of the writing workshop head-on. In The Writing Workshop, Katie Wood Ray offers a practical, comprehensive, and illuminating guide to support both new and experienced teachers. While every aspect of writing workshop is geared to support children learning to write, this kind of teaching is often challenging because what writers really do is engage in a complex, multi-layered, slippery process to produce texts. The book confronts the challenge of this teaching head-on, with chapters on all aspects of the writing workshop, including: day-to-day instruction (e.g., lesson planning, conferring, assessment and evaluation, share time, focus lessons, and independent writing); classroom management (e.g., pacing and scheduling, managing the predictable distractions, and understanding the slightly out-of-hand feeling of the workshop); and intangibles (e.g., the development of writing identities and the tone of workshop teaching). The Writing Workshop is a book about being articulate--being able to think through what we are doing as we are doing it so that we can improve our practice. It's a book to go back to when things are getting hard. A book that helps us think through, "Now why was I doing this?" Woven between the chapters on teaching are the voices of published writers, followed by short commentaries from Lester L. Laminack. These voices remind us how writers do what they do, thus lending authenticity to what Katie Wood Ray shows us in the classroom, and thoughtfully helping us frame our instruction to match the complex process of writing.

McCann, Johannessen, Kahn, and Flanagan guide high school teachers in developing skills in promoting and facilitating authentic discussion in the English language arts classroom.Experienced teachers know-and new teachers quickly learn-how challenging it is to spark and sustain effective classroom discussions. How can we avoid asking leading questions that make students try to read our minds for a "correct" answer? How can we foster meaningful, focused conversation that produces deeper insights into a specific work or topic? Talking in Class guides readers in developing skills that promote and facilitate authentic discussion within the English language arts classroom. Speaking from their own classroom experience, the authors introduce some basic considerations for planning, managing, and evaluating large-group and small-group discussions. Examples of both instructional activities and classroom practices illustrate the ways that discussion prepares students for subsequent learning, specifically in connection to writing and to the reading and interpretation of literature. The authors also explore how discussion can connect many phases and components of the curriculum; promote and support inquiry and critical thinking; incorporate current, popular technologies, such as blogs and discussion boards; and connect students to issues that are important to them and to the broader world of thinkers.

Winner of the 2015 CCCC Outstanding Book AwardAs our field of composition studies invites students to compose with new media and multimedia, we need to ask about other possibilities for communication, representation, and making knowledge--including possibilities that may exceed those of the letter, the text based, the composed. In this provocative look at how composition incorporates new forms of media into actual classrooms, Jonathan Alexander and Jacqueline Rhodes argue persuasively that composition's embrace of new media and multimedia often makes those media serve the rhetorical ends of writing and composition, as opposed to exploring the rhetorical capabilities of those media. Practical employment of new media often ignores their rich contexts, which contain examples of the distinct logics and different affordances of those media, wasting the very characteristics that make them most effective and potentially revolutionary for pedagogy. On Multimodality: New Media in Composition Studies urges composition scholars and teachers to become aware of the rich histories and rhetorical capabilities of new media so that students' work with those media is enlivened and made substantive.

Dunning and Stafford, both widely known poets and educators, offer this delightful manual of exercises for beginning poets. The 20 exercises, each covering different types or phases of poetry writing, as well as the authors' humor and nonacademic style, will appeal to experienced and novice poets of all ages.

Golden provides a lively, practical guide enabling teachers to feel comfortable and confident about using film in new and different ways. The book makes direct links between film and literary study by addressing reading strategies (e.g., predicting, responding, questioning, and storyboarding) and key aspects of textual analysis (e.g., characterization, point of view, irony, and connections between directorial and authorial choices). More than 30 films are used as examples to explain key terminology and cinematic effects. Teachers are encouraged to harness students' interest in film in order to help them engage critically with a range of media, including visual and printed texts. Appendixes include a glossary of film terms, blank activity charts, and an annotated resource list.

Delia DeCourcy, Lyn Fairchild, and Robin Follet offer a differentiated approach to teaching Shakespeare's Romeo and Juliet, including lesson plans focused on key scenes, close reader handouts geared toward different levels of readiness, and scaffolded reading activities.Romeo and Juliet is one of the most-taught plays of Shakespeare, yet teachers are always looking for new and effective ways to make the material engaging and adaptable for all students-from those struggling to read to those able to analyze complicated sonnets. By using the concept of differentiated instruction, authors Delia DeCourcy, Lyn Fairchild, and Robin Follet provide a practical, easy-to-use guide for teaching the play that addresses a wide range of student readiness levels, interests, and learning styles. This differentiated approach helps students develop a deep understanding of Romeo and Juliet through activities such as cinematic interpretation, creative writing, dramatic interpretation, and Socratic discussion. An entire curriculum for teaching the play, the book features lesson plans focused on key scenes; scaffolded reading activities that address the different needs of novice, on-target, and advanced learners; quizzes, mini-lessons, and compacting guidelines; and close reader handouts geared toward different levels of readiness.

Although the works of William Shakespeare are universally taught in high schools, many students have a similar reaction when confronted with the difficult task of reading Shakespeare for the first time. In Reading Shakespeare with Young Adults, Mary Ellen Dakin seeks to help teachers better understand not just how to teach the Bard's work, but also why. By celebrating the collaborative reading of Shakespeare's plays, Dakin explores different methods for getting students engaged-and excited-about the texts as they learn to construct meaning from Shakespeare's sixteenth-century language and connect it to their twenty-first-century lives. Filled with teacher-tested classroom activities, this book draws on often-taught plays, including Hamlet, Romeo and Juliet, Macbeth, Julius Caesar, and A Midsummer Night's Dream. The ideas and strategies presented here are designed to be used with any of the Bard's plays and are intended to help all populations of students-mainstream, minority, bilingual, advanced, at-risk.