REACH-OUT

The Internet edition of the REACH-OUT Newsletter



Vol.3 no.1              August, 2000

 

CP NEWS

 

 

"It's a new school year: new faces, new classes and collegues, new workloads, new challenges,…! It's also a time for looking back to review the last year, the exams and the results while planning the present based on the successes and an understanding of the failures. I wish you, a great new school year and I am looking forward to working with you."

 

GUIDE

REFORM_ 3

SPEAQ 2000 4

TID-BITS_ 4

EXAMS 2000 4

MAILINGS_ 4

RREALS ESL SONGBOOK AND CD_ 4

EXCHANGES: 4

MEETINGS_ 5

"PERFECTIONNEMENT"_ 5

BECOMING STRATEGIC IN THE ESL CLASSROOM: 5

ACTIVE LEARNING_ 5

INTRODUCING STRATEGIES : 6

INSTRUCTIONAL MODEL APPROACH_ 6

LEARNING FOREIGN LANGUAGES_ 8

EXPLANATION OF LANGUAGE MNEMONICS_ 8

THE 6 STEP MASTER PLAN TO ACCELERATED LEARNING   10

MIND MAPPING_ 11

YOUR BRAIN'S POTENTIAL_ 12

ESL.ABOUT.COM_ 12

HOW JULIE'S BRAIN LEARNS_ 14

THE 100 BASIC WORDS_ 19

ADJECTIVE? WHAT'S AN ADJECTIVE? 21

THE MOVIE AS TEACHER_ 23

THE BEST STRATEGY FOR UNDERSTANDING MOVIES  24

BACK TO SCHOOL WORD SEARCH_ 29

ENSEIGNEMENT STRATÉGIQUE_ 30

 

This year marks the debut of the introduction of the reform in the classrooms of the kindergartens and first cycle classes throughout Quebec. Next year will be the second cycle (grades 3 and 4) with English classes for all. In two years, the third and final cycle at elementary school and in three, the fourth cycle or first secondary cycle will be included. Finally,  the fifth and final cycle will embark on the great adventure in four years.

 

Preparing for the introduction of the reform into the schools will take center stage in all aspects of the educational landscape. It will be the focus of all pedagogical in-service training. It will be the guage of all new projects and experimentation. It will bring new ideas even new philosophies and paradigms while melding the proven practices of the past.

 

Disclaimer: The article - How Julie's brain works does not refer to anyone in particular.

Reform

The final version of the ESL 2nd cycle program along with a preview of the 3rd cycle was released June 15th.  It is available in pdf format on the MEQ site at  http://www.meq.gouv.qc.ca/dfgj/program/pdf/frm2000/prform04.pdf

or via http://www.meq.gouv.qc.ca/dfgj/program/1cyclep.htm

Paper copies will be distributed at future training sessions.

The presentation of the program is in English and a guide and summary in French will be available for parents and principals.

 

A simplified explanation of the implementation of the Reform can be found on the Internet at:

La réforme de l’éducation :
questions et réponses à l'intention des parents et du public

http://www.meq.gouv.qc.ca/virage/Boite_outils/ques_rep.htm

 

A form is included at the end of the document for those interested in working for the MEQ on the new programs or exams.

SPEAQ 2000

 
«Aujourd'hui  DEMAIN  TOMORROW Today»
October 26 at 7:30 PM, 27 and 28, 2000
 Hilton Hotel, Quebec City
http://station05.qc.ca/Partenaires/speaq/

TID-BITS

Congratulations:

to Robert Gauvin from Ste-Marguerite who has been chosen as vice-principal at the amalgamated St-Patrice-Brossard elementary school.

 

Exams 2000

I`ll be sending out a feedback sheet on the grade 6 and secondary 3 exam to gather your comments.

Mailings

For the last two years, one copy of Reach-out has been sent out to each of the 45+/- schools.

Since there are only about 50 ESL teachers, we will attempt to gather the information of who teaches what, where. With that information, we could better serve everyone and not need the hassle of  schools making copies while some teachers receive 4 or 5 copies. We could send Reach-out and material specific to your level directly to you. While we will be contacting the principals for the information, feel free to send in your particular coordinates to help ensure you are included.

RREALS ESL Songbook and CD

A late-comer to the material shared by RREALS members this year is a songbook and accompanying CDROM of popular English songs from Jingle bells to Row Row Your Boat.

If you are interested in receiving a copy of the book and either a CDROM or a cassette version of the songs, please contact me with your name, school, etc. telling me which format you would prefer - CD or tape.

Exchanges:

An exchange activity, whether it be a six month individual, week-long group or an email correspondance is a possibility offered to teachers and their students. SEVEC, inter-Quebec and European exchanges were offered last year and are worth considering.

 

Here are a few resources for email exchanges:

 

ESL-LA Internet site: http://station05.qc.ca/css/cybersite/ESL-LA/

 

ICE-BREAKERS:
"One that I have used with great success in the past is to tell the students on the first day that they will be introducing themselves to the class by telling us three true things about themselves and one false thing. 
We have to guess which one is false.  For example, a student might say,  'Hi my name is Sue, my fours things are:  I have played the piano for ten years, I want to be a chemical engineer, I have four brothers and no sisters, and I grew up in California.'  We learn a lot about each other this way and it is always fun trying to guess which statement is false.  The class must come to a consensus on which one we think is false." Ramrei, Dallas TX

Last year's August edition included several suggestions for ice-breaker activities to begin the year. They can also be found on the Reach-Out web site at : http://station05.qc.ca/css/cybersite/reach-out/7/reachout7.htm

Meetings

While there is a regional pedagogical day scheduled for the beginning of the year, I have decided after much debate with myself, not to call an ESL meeting as I think most teachers want to prepare their classes, classroom, … and settle in for the new school year. Feel free to suggest otherwise for the future if I have judged the situation poorly or call me if you would like to set up a meeting at your school or between special interest groups.

"Perfectionnement"

 

For this year, the provincial funds for in-service training were decentralized to the regions and also cut back. While we asked for the funds for two different training projects, only one was accepted in order to stay within the budget constraints. The training session will be a joint regional session for the elementary ESL  teachers and specialists of the 3 francophone boards later on during the year. The reform will be the focus. Other workshops will be offered for all during some of  the regional pedagogical days which are October 6, November 3, January 26, April 12 and May 18.

Becoming strategic in the ESL classroom:

Follow-up

The two day session last spring probably left as many questions as answers. Here are some interesting statistics that might apply to the session as well as the classroom.

ACTIVE LEARNING

It has been said that on average we remember

20% of what we read

30% of what we hear

40% of what we see

50% of what we say

60% of what we do

90% of what we see, hear, say and do

(Source - Accelerated Learning for the 21st Century by Colin Rose and Malcolm J. Nicholl)

I have included some articles related to the session in this Reach-Out and I will schedule a follow-up workshop on the topic. I think that while many principles and notions are involved,  there are two main concepts to keep in mind; teaching strategies and teaching strategically.

 

Please take note of any applications of the session that you can share later this year as well as any questions.

 

 

INTRODUCING STRATEGIES :

C.A.L. APPROACH

http://www.muskingum.edu/~cal/database/introlsCAL.html

 

The following guidelines, developed by the Center for the Advancement of Learning, relate to introducing students to learning strategies. The seven-step procedure for introducing learning strategies is most effective with individual students but may be used with small groups of students.

 

 

INSTRUCTIONAL MODEL APPROACH

http://www.muskingum.edu/~cal/database/introlsmod.html

 

As adapted by (REFERENCE) from Ellis, Deshler, Kenz, Schumaker, and Clark (1991), the instructional model for teaching learning strategies shares commonalities with the C.A.L. approach. The eight-stage process is outlined below (REFERENCE, p. 291).

 

 

 

Memory tips:
http://www.mindtools.com/memory.html

http://www.psychwww.com/mtsite/memory.html
1. Stop, look and listen.  When you want to consciously remember something, say it aloud.  Make a mental picture along with your words to help store it in long term memory. Say aloud - “ I will remember...”

 

2.  To store information in long term memory it must be rehearsed. Repeat the items you want to recall several times.  As you do this, look up and place them on a mental blackboard.

 

3.  Chunk the information.  Longer lists are more easily recalled if they are divided into chunks of information.  For example, your shopping list of 12 items can be recalled if you chunk it down into groups of three items each.  Along with the chunking, use a pneumonic device like using the first letter of each of the words and then saying aloud - m,e,b -- milk, eggs, butter.

 

4.  Use visual location clues.  Perhaps you want to remember to call your friend when you get home.  While you are still at the office, before you get home, picture a telephone on your front door and your friend smiling. That way, when you do get home, the exaggerated image will pop into your mind and you will remember to call your friend.

 

5.  Rhymes always add the kind of interest and connections the brain likes to retrieve things. 

 

6.  Want to remember your secret codes and passwords - use the numbers on your telephone keypad to spell out the numbers you want to recall. For example, 4663 spells out home.

 

7.  For studying - always use the P,Q,R,S,T or S,Q, 3R system.

P stands for preview. Look over the whole chapter or section of what you want to learn.  Give your brain a mental mind map of what the material is about.

Q - Create questions about the material and give your brain a reason to make the material important.  You will want to answer your own questions.

R - RE-read the material.

S - Make a mind -map of the material by drawing a circle in the center of a page with the main topic in it.  Then draw other circles, squares or rectangles with related information connected to the circle with a line.

T - Test yourself by looking up to activate your visual cortex and recalling the map you drew.

SQ 3 R works just the same.  Survey is pre-view, Q is Question, R is for read the material, R is for recite the material using a mind-map with pictures, and R is for review just before the test.  Again, look up and see the images which will trigger the words.

 

8. Use music when you study to increase the brain pathways and your ability to recall the information.  See the information on the Mozart Effect on the web site at www.howtolearn.com

 

9.  Write down information you want to remember - but add pictures with the words.

 

Learning Foreign Languages

 

Foreign languages are the ideal subject area for the use of memory techniques: the process of learning words is essentially a matter of association - associating what is initially a meaningless collection of syllables with a word in a language that we understand.

Traditionally this association has been carried out by repetition - saying the word in ones own language and the foreign language time and time and time and time again.

This whole tedious way of acquiring vocabulary can be eliminated by three good techniques:

  1. Using mnemonic techniques to link foreign and own-language words: the Linkword technique
  2. The Town Language Mnemonic
  3. The hundred most common words.

Systems Needed

Before we explain how to remember vocabulary, you will need to understand the principles of:

  1. 1. The Roman Room memory system
  2. 2. The link memory method.

Explanation of Language Mnemonics

 

1. The LinkWord Technique

The LinkWord technique uses an image to link a word in one language with a word in another language. The following are examples of use of the LinkWord technique:

 English:French vocabulary
      rug/carpet - tapis -  image of an ornate oriental carpet with a tap as the central design woven in chrome thread
      grumpy - grognon -    a grumpy man groaning with irritation
      to tease - taquiner - a wife teasing her husband as she takes in the  washing.

The technique was formalised by Dr. Michael Gruneborg. LinkWord language books have been produced in many language pairs to help students acquire the basic vocabulary needed to get by in a language (usually about 1000 words). It is claimed that using this technique this basic vocabulary can be acquired in just 10 hours.


2. The Town Language Mnemonic (Editor's Choice)

This is a very elegant, effective mnemonic designed by Dominic O'Brien that fuses a sophisticated variant of the Roman Room system with the LinkWord system described above.

The fundamental principle rests on the fact that the basic vocabulary of a language relates to everyday things: things that are typically found in a small town, city, or village. The basis of the technique is that the student should choose a town that he or she is very familiar with, and should use objects within that place as the cues to recall the images that link to foreign words.

Nouns in the town

Nouns should be associated to the most relevant locations: the image coding the foreign word for book should be associated with a book on a shelf in the library. The word for bread should be associated with an image of a loaf in a baker's shop. Words for vegetables should be associated with parts of a display outside a greengrocer's shop. Perhaps there is a farm just outside the town that allows all the animal name associations to be made.

Adjectives in the park

Adjectives should be associated with a garden or park within the town: words such as green, smelly, bright, small, cold, etc. can be easily related to objects in a park. Perhaps there is a pond there, a small wood, perhaps people with different characteristics are walking around.

Verbs in the sports centre

Verbs can most easily be associated with a sports centre or playing field. This allows us all the associations of lifting, running, walking, hitting, eating, swimming, driving, etc.

Remembering Genders

In a language where gender is important, a very elegant method of remembering this is to divide your town into two main zones where the gender is only masculine and feminine, or three where there is a neutral gender. This division can be by busy roads, rivers, etc. To fix the gender of a noun, simply associate its image with a place in the correct part of town. This makes remembering genders so easy!

Many Languages, many towns

Another elegant spin-off of the technique comes when learning several languages: normally this can cause confusion. With the town mnemonic, all you need do is choose a different city, town or village for each language to be learned. Ideally this might be in the relevant country, however practically it might just be a local town with a slight flavour of the relevant country, or twinned with it.


3. The hundred most common words

Tony Buzan, in his book 'Using your Memory', points out that just 100 words comprise 50% of all words used in conversation in a language. Learning this core 100 words gets you a long way towards learning to speak in that language, albeit at a basic level.

Click here to see the 100 basic words.


Summary

The three approaches to learning language shown here can be extremely effective in helping to learn a foreign language, in terms of pointing out the most important words to learn, showing how to link words in your own language to words in a foreign language, and showing how to structure recall of the language through use of the town mnemonic.

The 6 Step Master Plan to Accelerated Learning

http://www.happychild.org.uk/acc/tpr/mem/0005mast.htm

One of the things that is often said to me as I teach these techniques and principles in both education and business is something along the lines of :

"Well I have tried that and it doesn't work for me"

or

"I can see how these techniques work but I don't know if I want to put the effort in to learn how to use them" .

It often amazes me that people get hooked on the process rather than the result. In my mind, to be a really effective learner, you need to know exactly what it is you want to learn, the level of proficiency you want to achieve in your subject or skill and a deep understanding of the reason why you want to do it and its importance to you. If you have those things clear in your own mind then the process does not matter because you will do anything to achieve your goal as long as it works. Now all of the techniques that I talk about work. Some may require more effort than others to get to work and what may be easy for one person to use may be very difficult for the next but if you are focussed on the result and it is an important outcome for you, then you will do W.E.I.T. (Whatever it Takes). When I reviewed "Accelerated Learning for the 21st Century" by Colin Rose and Malcolm J. Nicholl in January 2000, I told you about their 6 step M.A.S.T.E.R. plan for Accelerated Learning and it is that process that I want to cover this month.

 

STEP 1 - Motivate Your Mind

Probably the most important step of the entire process. It is so very important that you are motivated to learn for your own reasons because if you are not, when you have to start working hard, it is likely that you will not put the right amount of effort in. You need to do a WIIFM (What's In It For Me) exercise to prime your mind and focus your energies on your learning. That way you will be able to generate motivation to get started and use it to sustain your efforts when things seem tough.

 

Step 2 - Acquiring the Information

This is the data gathering section of the process and it can be enhanced by knowing your learning style and capitalising on it. We tend to learn using a combination of Visual (what we see), Auditory (what we hear) and Kinesthetic (what we physically and emotionally experience) strategies. We will always use a combination of these three but there may be one which is dominant. Find out which it is and focus your learning on that style.

 

Step 3 - Search out the Meaning

It is so very important to understand what you are learning rather than just memorise a series of facts. As Rose and Nicholl say in their book "Turning facts into personal meaning is the central element to learning". They go on say that in career terms, the ability to develop a deep understanding and make sense of a jungle of information pays much better than the ability to regurgitate a series of facts.

 

Step 4 - Trigger the Memory

Once you have developed a deep understanding of your subject, you will still have to lock it into your long term memory and this is where many of the techniques that I have written about on this site become relevant. My own favourite techniques are a combination of Mind Mapping (which for me will give me 80-90%) of my learning, and the use of memory systems (eg the peg system) and mnemonics to round off the last 10-20%. That of course is my own personal preference but find what works for you.

 

Step 5 - Exhibit what you Know

This stage is in my mind the most important part of the process. Too many of us spend hours and hours and hours hunched over our notes and text books trying to learn and yet we spend very little time practising the recall of the information that we have learnt. So in effect we develop a very strong "IN" mental muscle yet the "OUT" muscle that we will rely on in our exanimations is hardly tested at all. Spend more time demonstrating what you know than putting it in and keep adjusting and correcting until you get it right every single time. It is by not following through on this process that causes the sort of comments I mentioned before.

 

Step 6 - Reflect on How you have Learnt

The most successful people always monitor what they do, compare their results with their desired outcome and adjust their approach if they are not getting what they want. It is at this stage that you should review the techniques you chose to use in step 4. Keep using the ones that are giving you the results that you want and either get better at the others (I'd suggest you try using something a couple of times instead of dismissing something because it did not work the only time you tried it) or try something else.

 

And there you have it, the 6 step M.A.S.T.E.R plan for Accelerated Learning. To remember the steps just use the mnemonic MASTER for the first letter of each step of the process. Let me know how you get on with this.

Mind Mapping

This month I am going to tell you about what I believe to be the most powerful thinking tool currently available. I am of course talking about the Mind Map® invented by Tony Buzan. So what is a Mind Map? Well it is a graphical technique that mirrors the way the brain works. The subject of interest is crystallized in a central image and then the main themes radiate out from the central image on branches. Each branch holds a key image or key word printed on the line. Details are added to the main branches and radiate out.

Most people's notes are on lined paper using blue or black ink which looks extremely boring. To make your notes more attractive to your brain, add colour, rhythm and imagination and all of a sudden taking notes becomes much more fun.

 

To draw a mind map do the following:

1. Turn your page on its side (landscape), making sure that it is plain paper.

2. Draw your central image using at least 3 colours, making it a picture (speaks a thousand words) that captures the subject of the Mind Map®.

3. Add the main branches which represent the subject's main topics or themes using key words and images.

4. Add the detail with more key words and images.

5. Use colour throughout and make your Mind Map® as beautiful as possible.

6. Print your words clearly and only use one word per line.

7. Use arrows to connect linking ideas.


Mind Maps® have a variety of uses including Note Taking and Note Making, revision planning, essay planning and problem solving. The Mind Map® shown above summarises the key points of this article. Of course the beauty of using Mind Maps® is that these combine both left and right brain thinking, which means that you will remember the information better than if you just had lines of words (see the Amazing Brain fact from April 1998). Knowledge of your brain's rhythms (see October 1998's article) will mean that by taking lots of breaks during your studying and by reviewing your notes to prevent the information that you have learnt from fading from your recall, you will learn much more, much quicker and retain it for much longer.

 

Your Brain's Potential

 In the brain there are 1,000,000,000,000 (a million million) individual neurons or nerve cells.

If each neuron can interact with anywhere between 1 and 100,000 other neurons then the brain's potential for pattern forming (the number of possible permutations) is a massive number that even in normal text would require 10.5 million kilometres of space to write one after the other!

That means that your brain has an almost infinite capacity for storing information.

 

 

ESL.ABOUT.COM

 

I feature this site as a very impressive source for all facets of ESL for all levels. It also offers a newsletter with regular updates and suggestions that can be sent to you via email. Here is a copy of a recent posting.

 

ESL.ABOUT.COM NEWSLETTER - Welcome to About's English as a Second Language Newsletter

ENGLISH AS A SECOND LANGUAGE
August 14, 2000
Vol. 2, # 32

~ New Quizzes

- Question Tags
- Uses of 'Like'
- Two Quantity Quizzes
~ New Listening Exercises
~ Confusing Words

----------- New Quizzes ----------------

USES OF LIKE

The correct use of 'like' is of fundamental importance in many basic questions. The fact that these questions use 'like' as a verb or a preposition can further complicate the issue. Ask the correct question using 'like' as either a verb or a preposition.
http://esl.about.com/library/quiz/blgrquiz_like.htm

QUESTION TAGS

question tags are often used to solicit input or confirmation to what we are saying. Using question tags well also promotes a keen understanding of the use of various auxiliary verbs.
http://esl.about.com/library/quiz/blgrquiz_tags.htm

COUNTABLE AND UNCOUNTABLE NOUNS

Some nouns are countable which means you can use either the singular or plural form of the noun, Other nouns are uncountable which means you can use ONLY the singular form of the noun.
http://esl.about.com/library/quiz/blgrquiz_quantity1.htm

QUANTIFIERS

The use of various quantifiers (much, many, etc.) also depend on whether the noun is countable or uncountable.
http://esl.about.com/library/quiz/blgrquiz_quantity2.htm

----------- New Beginner Listening Comprehension Quizzes -------------------

Practice your number listening comprehension. Listen to the people speaking about different numbers and write down the number you hear. When you have finished, click on the arrow to see if you have answered correctly. You will hear the listening twice.

Numbers - 1

http://esl.about.com/library/listening/bllis_number1.htm

Numbers - 2

http://esl.about.com/library/listening/bllis_number2.htm


---------- Past Features -------------

CONFUSING WORDS

Many words are easily confused in English. For example: Did you get a raise or a rise? Other words are easily confused because of different usage. For example: while or during. Use these confusing words quizzes to help you learn when to use which confusing word.

CONFUSING WORDS - 1

http://esl.about.com/library/vocabulary/blconfusing1.htm

CONFUSING WORDS - 2

http://esl.about.com/library/vocabulary/blconfusing2.htm

CONFUSING WORDS - 3

http://esl.about.com/library/vocabulary/blconfusing3.htm

CONFUSING WORDS - 4

http://esl.about.com/library/vocabulary/blconfusing4.htm

CONFUSING WORDS - 5

http://esl.about.com/library/vocabulary/blconfusing5.htm

-----------Around About ------------

ITALIAN FOOD RECIPES

A favorite classroom activity is having students write recipes. Use these great recipes provided by About's guide to Italian Food Guide, Kyle Phillips, to some of the greatest food on Earth as examples.
http://italianfood.about.com/food/italianfood/blfeat.htm

NEW YORK, NEW YORK

Let About's Guide to New York, John S. Irons, show you around one of the greatest towns around.
http://gonyc.about.com/travel/gonyc/mbody.htm

---------- From the Forum ------------

Follow these threads and add your comments or questions:

SOMEONE TO CHAT

http://forums.about.com/ab-esl/messages/?msg=133.1

HELP WITH ENGLISH QUESTIONS

http://forums.about.com/ab-esl/messages/?msg=125.1

CORPORATE ESL JOBS

http://forums.about.com/ab-esl/messages/?msg=130.1

VOCABULARY THEMES

http://forums.about.com/ab-esl/messages/?msg=135.2

------------------------------------------
USEFUL PAGES

BEGINNER PAGES

http://esl.about.com/library/courses/blcourses_beginner.htm

LOWER - INTERMEDIATE PAGES

http://esl.about.com/library/courses/blcourses_lower_intermediatehtm

INTERMEDIATE PAGES

http://esl.about.com/library/courses/blcourses_intermediate.htm

UPPER - INTERMEDIATE PAGES

http://esl.about.com/library/courses/blcourses_upper_intermediatehtm

ADVANCED PAGES

http://esl.about.com/library/courses/blcourses_advanced.htm

ESL CAREER CENTRAL

http://esl.about.com/blcareer.htm

LESSON PAGES

http://esl.about.com/bllessonplans.htm

QUIZ CENTRAL

http://esl.about.com/blquiz.htm

GRAMMAR PAGES

http://esl.about.com/library/grammar/blgrammar.htm


VOCABULARY PAGES

http://esl.about.com/blvocab.htm

TOPIC INDEX

http://esl.about.com/bltopic.htm

 

 

 


Volume 56 Number 2 November 1998

How the Brain Learns

Eric Jensen

How Julie's Brain Learns

Follow a typical student through her day at school--from the perspective of her brain.

Julie seems like a bright kid. At least that's what her aptitude tests say. You can count her absences on one hand, and she's not a discipline problem. As far as the teacher knows, she comes from a fairly typical home. So why is she--and countless others in her school--driving her teachers crazy? Why do teachers have to go over things twice and even three times for the information to sink in?

We've known for years that teaching does not equal learning. But today we have a better idea of what's going on in Julie's brain. Julie's teacher spends a lot of time reteaching because she doesn't teach in ways that match how Julie's brain learns. This mismatch creates frustration, underperformance, and hopelessness.

Fortunately, new knowledge in neuroscience is redefining possibilities for education. There are five critical variables in the brain's learning process: neural history, context, acquisition, elaboration, and encoding. To find out where neuroscience and the classroom link up, let's explore these from the perspective of Julie's brain.

Neural History

Julie's brain is not blank like a tabula rasa but customized by her life experience. Julie's neural history includes more than her grades and test scores. A seemingly trivial accident--a fall and bump on the head at summer camp--has created a brain insult in her temporal lobe, an area responsible for Julie's semantic memory. That means that although Julie's memory might be good for names and places, it's weaker for numbers and formulas. This behavior puzzles teachers who often think she's simply not trying hard enough in math classes.

Our neural history is founded on a dynamic interplay between nature and nurture called emergentism. At each development stage, different genes are affected by the environment and are uniquely expressed (Elman et al., 1998). Genes, however, are not templates for learning. For example, if there really were a "language gene," then a child raised in isolation would automatically speak. Prior learning, character, the environment, peers, and life experience also influence how we learn.

For instance, many students who have spent too much time in car seats and not enough time on swings, merry-go-rounds, and seesaws have insufficient early motor stimulation and experience poor school readiness. Exposure to constant threat or early trauma often alters the brain's behavior, creating extreme levels of serotonin and noradrenaline. A lack of early enriching activities may influence brain development. Extended television watching in the early years may create learned helplessness or unduly passive or aggressive behaviors. Drug usage can desensitize the opiate receptor sites for pleasure.

At birth, Julie's brain had a trillion neural connections, known as synapses, that were wired in. By now, Julie's 15-year-old brain has countless unique life experiences, and her three-pound operating system is rich with intricate neural wiring that represents information, complex patterns, mental models, and belief systems. She, like others in the class, brings this personal neural history to school each day. Her teacher has the difficult challenge of customizing information for each learner.

Given students' unique experiences, it may be impossible to create a level playing field. However, studies suggest the value of increasing motor activity, arts, music, choices, challenges, and feedback. Teachers should also take time to socialize students through well-orchestrated groupwork to create better social behaviors and a common class history. Evidence suggests that peers are a significant influence on students' academic performances (Hartocollis, 1998).

Learning Context

Julie's teacher influences her learning brain every day by designing the physical and emotional environment. For example, though Julie finds it easy to arrive on time, she tends to cut it close. Today's close call relates to boyfriend problems. The allotted time between classes is just long enough to start a conversation, but not long enough to finish it. If the broken conversation threatens a potential romantic relationship, trouble begins.

New evidence from Deborah Yurgelun-Todd of Boston's McLean Hospital (personal communication, 1998) suggests that the typical adolescent brain is too immature to read complex facial clues. Misreading peer or role model facial cues often results in inappropriate reactions. However, pioneering neuroscientist Candace Pert of Georgetown University Medical School says, "Unexpressed emotions can inhibit many functions, including learning" (Pert, 1997). Accordingly, teachers must allow for a wider range of emotional expression, even when the expression may be misguided. Classroom examples may include more drama, open discussions, and celebrations.

Educators can assume that some students will arrive at class distressed and even threatened. Therefore, we should invest the first few minutes to accomplish three goals. First, we need to provide an outlet for emotional expression--through discussion, singing, sharing, writing, music, or drawing. Second, we must reconnect learners with one another. Even a positive greeting at the door can reconnect learners with their teacher. Peer contact is also valuable. Third, we must help learners reconnect with the content. Let students have open group discussions, journal writing, paired activities, or mind mapping.

When a person is threatened, the hypothalamus and the adrenal glands team up to release adrenaline, cortisol, and vasopressin. Julie's threat response is great for escaping from predators, but not for learning. The short-term impact of this chemical release includes impaired spatial-episodic memory, weakened ability to prioritize, and greater likelihood of repeated behaviors. Julie's brain is just not ready for learning when the bell rings. But she's lucky; other students are even more threatened by insurmountable language barriers, bullies in the hallways, and hostile home lives. Overcrowded classrooms, unreasonable rules, and impossible deadlines can also feel threatening.

Good teachers who know that emotional climate is critical invest the first few minutes of every class in activities that allow students to get into a positive learning state. Activities might include nonthreatening open-class discussions, journal writing, stretching, paired discussions, mind mapping, listening to music, reflecting, or dancing and games.

As important as emotional safety is physical safety. The brain's optimal physical environment includes a temperature near 70 degrees and a humidity level near 70 percent. Too much heat or too little humidity triggers stress. Students should also have water available without having to ask permission to get it. Nutrition, too, is a factor. We are, after all, always trying to ensure our own survival.

Attentional chemicals also run Julie's brain. Her midday amine level is at its lowest since bedtime. Amines are stimulants, like amphetamine. By early afternoon, Julie's brain is ready for a nap. Although this happens every 90 to 110 minutes, the nadir occurs 12 hours after the midpoint of last night's sleep. Because Julie sleeps from 10 p.m. to 6 a.m., her lowest energy time occurs at 2 p.m. Studies suggest that short, brisk activity increases energy levels (Thayer, 1989). Schools need to integrate more movement into the daily schedule. Repeated physical activity like stretching, playing games, swimming, or walking releases epinephrine and dopamine, which usually lift Julie's spirit.

Another attentional modulator is a common neurotransmitter called serotonin. Its release is triggered by many factors, including dietary tryptophan. Julie's high carbohydrate lunch is coming back to haunt her. She doesn't know that a better lunch might include more protein and trace minerals and fewer carbohydrates. Tuna salad, fruit, yogurt, or nuts can keep the brain going for hours. Educators need to inform parents and kids about what to eat to help them learn.

Acquisition

Julie's teacher has strong models of so-called "good teaching," including the traditional stand-and-deliver model, in which the goal is to get and keep students' attention. But the process of learning is complex. First, much of what we learn comes to us indirectly. Second, the physiological state in which we learn mediates how much we comprehend. A hopeful student and a discouraged student learn differently. Finally, by engaging in trial-and-error learning, students will more likely become lifelong learners.

Too much attention to anything may be counteradaptive. An excessively focused brain may be more susceptible to predators. Although we no longer fear saber-toothed tigers, school threats today come in more subtle packages, such as peer embarrassment. In addition, when teachers insist on holding students' attention, they miss the fact that much learning comes through indirect acquisition, such as peer discussion or environmental stimuli. By making excessive attentional demands on students, teachers can create resentful learners.

Ultimately, brain-compatible teachers may engage learners' attention only 20 to 40 percent of the time and still do a great job. Teachers need to keep attentional demands to short bursts of no longer than the age of their learners in minutes. For a 1st grader, that's about 6 consecutive minutes; for a high schooler, that's up to 15 minutes. Julie's teacher will want to use attention sparingly for introductions, key ideas, directions, lecturettes, reviews, stories, and closings. The rest of the overall learning time (processing, encoding, and "neural rest") ought to be student time, used for processing, projects, discussions, group work, partner work, self-assessment, journal writing, feedback, design, research, mapping, interviews, review, or memorization.

Another strategy to boost acquisition is enhancing prior knowledge. Teachers can provide content slowly, increasing the quantity over a period of days or weeks. This builds connections so that when it's time to explore a topic in depth, every student has the necessary background. Julie is better off not jumping in all at once, but nibbling at learning over time. To do this, teachers should post key points on the bulletin board weeks in advance of assessments.

State-of-mind management is another factor behind acquisition. Great learning states include curiosity, anticipation, and challenge. Each state is defined by a unique brain chemistry formulation that includes neurotransmitters like dopamine and serotonin and hormones like adrenaline. The best teachers successfully manage these optimal learning states. Better yet, they empower their learners to manage them for themselves. Julie's teacher might want to give directions for a complex project in smaller, more interesting chunks. This prevents students from hearing all the directions at once, feeling overwhelmed and discouraged, and then being unmotivated to do the task.

In-depth learning requires the formation of complex, multilayered neural networks. Individual neurons are not very smart. Timely and accurate feedback helps neurons learn first to fire together, then to wire together as a network. When we activate the right neurons, we get a "smarter" organism. Superior learners learn by systematic trial and error. Eventually, they will get the right answer, but more important, they eliminate the wrong answers. In some ways, the worst thing that can happen is for a student to get the right answer immediately. Teachers need to orchestrate circumstances that allow more trial and error. This might include research, discussions, team problem-solving, and projects that have built-in opportunities for self-correction.

What should be the proportion of student time to the total class time? That depends on several variables: learner background, content complexity, and accountability. Teachers ought to spend 55 to 80 percent of their time allowing students to process information. Most teachers don't set aside this time and therefore do an enormous amount of reteaching. Typically, state curriculum standards push each year for more in-depth critical thinking and, paradoxically, for more wide-ranging content. Teachers can go wider or deeper, but not both; something's got to give.

We see evidence of acquisition by the formation of new synaptic connections. Each cell body, or neuron, has spindly branches called dendrites and a single longer projection called an axon. The axon of one cell will typically connect with the dendrites of another. These connections are formed when experiences are both novel and coherent. If experiences are familiar, the existing connections may simply be strengthened. If experiences are incoherent, no learning may result. The sources for acquisition are endless. They may include discussion, lectures, visual tools, environmental stimuli, hands-on experiences, role models, reading, manipulatives, videos, reflection, projects, and pair-share activities. No single way is best for students to learn, but the age-old rule still applies: Students who do the talking and the doing do the learning.

Elaboration

When Julie's teacher asks questions and gets a blank look or a trivial answer, she's puzzled. She shouldn't be. A synaptic connection is often temporary. Neural space is expensive real estate, and the brain builds only what's needed. To ensure that the brain maintains synaptic connections, we need elaboration to strengthen the original contact.

Elaboration is the sorting, sifting, analyzing, testing, and deepening of learning in a way that gives students genuine feedback on how well they understand. It ensures not only that students "own" information, but also that the information is correct. The best feedback is specific and timely.

Julie's teacher still lives in the old paradigm for feedback, in which the classroom teacher is the primary source. But because there's not enough time for any teacher to give enough feedback to every student, teachers have to make sure students get feedback from multiple sources: peer editing, discussions, student-generated rubrics, answer sheets, pair-share, video or audiotaping, predictions, journal writing, outside speakers, or reference materials. When all these are used collectively, students can get sufficient feedback every 30 minutes or less, every single day. Not only will they be more accurate in what they learn, but they will also develop greater intrinsic motivation. Students' brains develop better patterns of thinking because they have more thorough, detailed, reality-tested models for learning.

Encoding

After elaboration, you'd think Julie's brain would have permanently encoded the day's learning. Not necessarily. Learning the information may create a memory trace, but this may not be strong enough to activate at test time. The retrievability of newly created memories depends on many factors: rest, emotional intensity, context, nutrition, quantity of associations, matching states, and learned pathways. But unless Julie's teacher knows this, she'll persist in the old model that says that memory is like a bank of records that students just need to try harder to retrieve.

Rest is a powerful memory aid because during our dream time, we process learning from the previous day. We discard meaningless information and strengthen the rest. When deprived of dream time, or REM (rapid eye movement) sleep, we can still learn material with strict memorization, but we are weaker at logic and can't learn complex material. The more students are exposed to new learning, the more time their brains should engage in the critical REM state. Infants dream the most, elderly people the least. Teachers must remind students that getting enough sleep will maximize their studying.

Intense emotions during or after learning is a reliable way to produce long-term memory encoding. Emotions excite the brain's chemical system, and the adrenaline released acts as a memory fixative, locking up memories of exciting or traumatic events. To engage appropriate emotions, Julie's teacher could use such strategies as better role modeling, competitions, journal writing, celebrations, dramas, creative writing, humor, student presentations, and impending deadlines.

If Julie learns in a classroom and then is tested in a media center or an auditorium, she'll likely underperform. Similarly, if Julie learns in a particular emotional state, she will most readily recall her learning in that same state. If Julie's teacher makes the initial learning fun and playful, the teacher needs to create a second, "rehearsal" stage before giving the more stressful exam.

The neurotransmitter acetylcholine is instrumental in long-term memory formation. Dietary sources include lecithin (found in eggs, salmon, and lean beef). Calpain (derived from calcium) helps digest protein and unblock receptors. Phenylalanine, found in dairy products, helps manufacture norepinephrine, which is also involved in alertness and attention. Researchers postulate that the chemistry of our body, which regulates our physiological states, is critical in triggering our recall.

Increasing the quantity of associations is a good way to increase recall. Because all recall is associative, the more ways that Julie knows the material, the better. She could know about a country through economics, geography, politics, culture, business, and entertainment. She could learn U.S. history through many different points of view: a male, a female, a Caucasian, an Asian, or a Hispanic.

Finally, teachers must match the memory mechanism at assessment time. Otherwise, a student will know the information but will not be able to demonstrate knowing it. The semantic memory system processes words, facts, pictures, stories, and text. If students learn with this pathway, they will need to activate similar associations to retrieve information. This highly volatile and malleable storage system needs constant reviews, mnemonics, word associations, prompts, and practice.

The episodic memory pathway is activated by unique circumstances and locations rather than content. Julie will remember where she was when she learned something more easily than she will recall what she learned. Teachers can activate episodic memory by providing frequent location, posture, group, and scenery changes to create unique "addresses" for learning.

The procedural and reflexive pathways are less malleable and harder to test because they reflect a different kind of learning that includes body learning, conditioned responses, and intuitive knowing. Teachers can engage and assess this type of learning through activity, movement, emotion, drama, repetition, and games.

Each memory pathway appeals to different students and has strong implications for assessment and learning transfer. Realistically, matching learning with assessment is just one of many challenges teachers face to make their classrooms brain-compatible. But it's worth striving for. The more that schools more closely match teaching to the way students' brains actually learn, the more likely they are to reach students and bring out their natural motivation to learn.

Increasing Brain Power

Even the best schools can't turn a mediocre student into a genius. But the experiences that we provide for students can make an enormous difference. Frederick Goodwin of the National Institutes of Health estimates that we can influence students' IQs 20 points in either direction--that's a 40 point IQ swing (Kotulak, 1996)! We educators can and must do our best to bring out the talents of tomorrow's citizens. Brain-compatible learning is a strong and positive step in the right direction. *

References

Elman, J., Bates, E., Johnson, M., Karmiloff-Smith, A., Parisi, D., & Plunkett, K. (1998). Rethinking innateness. Cambridge, MA: MIT Press.

Hartocollis, A. (1998, Jan. 13). Midwood High students take Westinghouse honors. New York Times, p. B3.

Kotulak, R. (1996). Inside the brain. Kansas City, MO: Andrews & McMeel.

Pert, C. (1997). Molecules of emotion. New York: Scribner.

Thayer, R. (1989). The biopsychology of mood and arousal. New York: Oxford University Press.


Eric Jensen, a former teacher, is a staff developer and member of the Society for Neuroscience. He's the author of nine books on the brain and learning, including ASCD's Teaching with the Brain in Mind. The author may be reached at Box 2551, Del Mar, CA 92014 (e-mail: jlcbrain@
connectnet.com).

 

The 100 basic words

 

The 100 basic words used in conversation are shown below. These typically comprise around 50% of all words used:

 


1. a, an

2. after

3. again

4. all

5. almost

6. also

7. always

8. and

9. because

10. before

11. big

12. but

13. (I) can

14. (I) come

15. either/or

16. (I) find

17. first

18. for

19. friend

20. from

21. (I) go

22. good

23. goodbye

24. happy

25. (I) have

26. he

27. hello

28. here

29. how

30. I

31. (I) am

32. if

33. in

34. (I) know 

35. last

36. (I) like 

37. little

38. (I) love 

39. (I) make 

40. many

41. one

42. more

43. most

44. much

45. my

46. new

47. no

48. not

49. now

50. of

51. often

52. on

53. one

54. only

55. or

56. other

57. our

58. out

59. over

60. people

61. place

62. please

63. same

64. (I) see

65. she

66. so

67. some

68. sometimes

69. still

70. such

71. (I) tell

72. thank you

73. that

74. the

75. their

76. them

77. then

78. there is

79. they

80. thing

81. (I) think

82. this

83. time

84. to

85. under

86. up

87. us

88. (I) use

89. very

90. we

91. what

92. when

93. where

94. which

95. who

96. why

97. with

98. yes

99. you

100. your


 


 


The 1000 basic words list is also available via ESL.about.com


 


Adjective? What's an Adjective?

http://learn.msn.com/


Carol Damm
Pine Hills School, Miles City, MT

Grades   

5 to 12

Subjects   

Language Arts, Grammar, Writing (Composition)



Overview
This activity gives students the opportunity to think creatively and work in small groups. It provides a constructive out-of-seat activity and builds students' knowledge of adjectives or descriptive words and their use in creative writing.

Objectives

  1. Students will learn what an adjective is and how it can be used to make creative writing more interesting.
  2. Students will work cooperatively in a small group.
  3. Students will use their creative ability and vocabulary to describe a picture.

 

Resources/Materials

  1. 4-foot piece of heavy newsprint or butcher paper for each group
  2. Masking tape or other means of attaching paper to wall
  3. A different colored marker for each group
  4. A scenic picture to be mounted on the top of each piece of long paper (I like to use a variety of pictures including fantasy, rustic, even formal outdoor pictures)

 

Activities and Procedures

  1. Mount pictures at the top of the long sheets of paper and hang them around the room or in hallways. Students will be writing on them so make sure the surface is smooth, markers do not bleed through the paper, and there is enough space for students to stand in front of their picture without bothering the next group.
  2. Divide students into workable groups equal to the number of pictures being used. Select a student to write and give him a marker. Be sure each group is a different color. Emphasize the need for all students to contribute, not just the one who is doing the writing.
  3. Students are to make a list of words that describe what they see in the picture. These must be single words, not phrases, and each can only be used once. E.g.,. The word green may be used only once to describe the grass and the trees in a picture, not green grass and green tree. Depending on the length of the class period and the planned follow-up activities, I set a timer for about 10 minutes for this part of the lesson.
  4. When the time is up, groups move to the next picture and continue the word list on the butcher paper. The only catch is that they cannot use any of the same words as the previous group. They must come up with original words of their own.
  5. Continue the rotation until each group has had an opportunity to work on each picture.
  6. When the lists are complete, the teacher should read through them, reviewing them with the students. The following are suggestions on what to look for:
    1. Does the word describe the picture?
    2. Is the word listed only once? If not, the second listing is crossed out.
    3. Is each word found in the dictionary or did students make them up?
    4. Discuss which group made the best and most contributions to the pictures: the group who worked on a picture first or last.
    5. Which pictures were the easiest to describe?
  7. The rest of the activity may be done in small groups or individually. Do one or all of the following:
    1. Write a poem about one of the pictures, using as many of the adjectives as possible from the list.
    2. Write a story about one of the pictures making sure that none of the words on the list are used. Rewrite the story using appropriate adjectives from the list to see how much more interesting the story becomes.
    3. Have the student become part of the picture, then write a story using the who, what, when, where, and why format.
    4. Same as above except from the perspective of a news reporter.

 

 


Raynotes Home Page

The English Learner Movie Guides

(Presented in Alphabetical Order)

All movie guides are available in PDF, HTML and WORD formats (PDF is best
for printing). To learn more about how to view and print them out,
click here.

http://eslnotes.com/synposes.html

 

My name is Raymond Weschler, creator of Raynotes: The English Learner Movie Guides, tools which I believe can be a significant educational breakthrough in the learning of English as a Second Language. I think you'll find that they are a truly user-friendly, enjoyable and innovative method of quickly acquiring real-world vocabulary while exploring American culture.

 

In brief, each individual guide is a detailed synopsis of a popular movie, which consists of the following:

 

·        a summary of the plot

1.           a list of the major characters

1.           an extensive glossary of vocabulary and various references that

     even advanced ESL learners would often not understand

 

In addition, many of the guides include relevant notes on useful cultural information, as well as questions that test general understanding of the movie and encourage discussion of film-related topics. Finally, all of the synopses also have links to other sites on the web, where the movie or entire screenplay can be purchased, or where more information about the movie topic can be acquired. On average, the guides print out at about

18-22 pages.

An Introduction for ESL Learners

 

I remember a few years ago when I was teaching English in France, slowly but surely working my way toward competence in French. About nine months after I arrived in Paris I decided I was "fluent." I could pretty much say anything I wanted to (with a ridiculously charming American accent), and I was getting close to understanding most of what people said to me. As far as I was concerned, I had almost accomplished my goal of true bilingualism. How wrong I was!

 

The Movie As Teacher

 

The fact is, I didn't recognize just how little I understood until

I began going to French movies. I felt lost and humbled. And what

I quickly realized is that while you may fully comprehend what your native friends and acquaintances are saying to you, it's quite possible that these same people are often dramatically more difficult to follow when they are speaking to each other, especially outside of your presence.

 

People will often modify their communicative styles when speaking with foreigners, both by talking slower, and much more importantly, by reducing the range of colloquial vocabulary they use. As an ESL student, you've probably noticed this phenomenon. And as your English has improved, many of your friends and acquaintances may have sub-consciously responded by conversing more quickly and increasing their level of vocabulary.

 

All of this may be helpful, but in the real world, not everyone is so accommodating. To put it bluntly, actors and screenwriters couldn't care less that you're a foreigner! Nor should they. Indeed, movies are difficult to understand precisely because they are so "real world," at least from

a linguistic perspective. This may make watching them incredibly frustrating, especially if you're at that level where you feel fluent,

but still can't follow a lot of the dialog. And yet, the fact remains that

there is probably no better source of linguistic input than a good film, if, paradoxically, you could just understand what is being said! It is for this reason that I created The English Learner Movie Guides.

A Tool For Fluent Students

 

Before continuing, I should clarify that these guides, or synopses, were ideally written for those English language learners who fall into the linguistic zone of "frustrated fluency" discussed earlier. In other words, they are designed for upper level ESL learners, for the simple reason that they'll be most effective as learning tools if you can already understand English well enough to generally hear where one word ends and another begins.

 

Of course, the more vocabulary you study and the more English you listen to, the faster you'll reach a point where individual words become discreet sounds and meanings in your head. It is at that point on the learning continuum where viewers can most effectively exploit the information

in this website. In doing so, movie watching can become a much richer experience, where native levels of comprehension gradually fall within reach.

 

The Best Strategy for Understanding Movies

 

I remember back in the 1970s when my mom once asked what kind of car she should buy, and I told her to get a Honda Civic. She said that she had never heard of it, and so she was skeptical. I told her that they were good cars and even showed her what one looked like. The next day, she said, "You know, it's weird, but ever since you recommended them, I've been seeing Honda Civics everywhere."

 

Words and expressions are like Honda Civics. They often fly through the air with such overwhelming speed and variety that when you aren't sure what a particular expression means, it's possible that you may not have even noticed that the words have entered your ears. But, if you actively go out and memorize a word, you may suddenly realize that such vocabulary pops up all the time. It then becomes internalized, hopefully stored in your long-term memory.

 

The point of all this is to emphasize the most efficient way to use these synopses: Print them out and study them well, before you see the movie.

At a minimum, the guides will give you a good feel for the major characters and plot development. Of course the words and definitions are the key. They are the "Honda Civics," some of which you may encounter here for the first time in writing, before you actually recognize them in context. Actively review them.Take notes in the margins. Watch the movie. Listen for them carefully.

 

Most of these guides can probably be reviewed in about an hour. In order to maximize the ease with which you'll watch the movie, you should try to know every word you read, including those in the plot summaries as well as the definitions themselves. The most efficient way to review would be with a good bilingual dictionary. While I've tried to explain the vocabulary with clearly written definitions, it's OK to rely on an occasional bilingual translation.

 

Ultimately, you will be able to fill in the linguistic puzzle of each film with one of the most effective tools in learning: familiarity. Indeed, by viewing the accompanying movies shortly after studying the guides, you will be reinforcing your learning with rapid-fire efficiency. And if you're especially motivated, you can go back over the new vocabulary you've learned after watching the film. After that, just keep your ears open.

 

The Goal of the Guides

 

The movie synopses on this website are not entire screenplays. They're simply language guides, and as such, the words that are included are merely my best estimate of the vocabulary and cultural references that many advanced ESL learners would not fully understand. Obviously, every learner will have a different set of words that he or she already knows. And given this, I fully expect that many of the more advanced learners will already know a great

deal of the vocabulary discussed.

 

If this describes you, that's fine. But you may want to read the entire synopsis, anyway. In fact, I chose much of the vocabulary not so much because it is difficult, but rather because it is often said so fast during the film that it will still be hard to catch. By reading the guide completely, it will serve as a mental guidepost, allowing you to follow the film with a greater sense of context.

 

You should also be aware that these synopses are indeed selective, and thus I haven’t attempted to list every possible expression that may cause problems. I chose to ignore some unimportant words, simply because they are so rarely used that they aren't worth your time to memorize. In any case, studying the synopsis should make the entire film more comprehensible, which in the end, is as important a goal as the internalization of any particular word or expression.

 

Obscenities, Idioms and Hollywood

 

That being said, I should make a few more comments on the contents of these reviews. You may have already noticed that some of the vocabulary is considered crude, or even obscene. Certain people may not wish to study such language, and may even take offense at the idea. That's your choice, but the material here is based on dialogue which reflects the way people speak in the real world.

 

While you may feel more comfortable in a typically sanitized ESL class,

you should realize that overly sensitive ears impede real-world comprehension. No one is suggesting that you actually say things like "You're such a son of a bitch!" However, if your American girlfriend does tell you this, it's at least better to understand what she's saying rather than just smile blankly, and then wonder why she's implying that your mother is some sort of dog.

 

In any case, much of the vocabulary that you'll learn is extremely useful, and indeed, I've specifically highlighted the words and expressions that I feel you might try to actively adopt in order to give your speech a more "native-like" feel. You'll notice that a large percentage of these expressions are the phrasal verbs that foreigners often avoid because of their incredible complexity and subtlety.

 

Understandably, you may find it easier to say "He charged me a lot more than the fair price" instead of "He ripped me off," but guess which one the native speaker will use! Personally, I think that these idiomatic verb+preposition combinations are your greatest barrier to native level speech and comprehension. By emphasizing them here, it's my hope that these films will help you rapidly internalize as many of them as possible.

 

Of course the synopses review more than just phrasal verbs. They reflect the entire range of everyday conversational English. And thus, by mastering their contents, you will hopefully make the movies upon which they're based as comprehensible as if you had spent several additional months "acquiring English naturally." So study well, enjoy the films,

and of course, don't forget the popcorn!

 

Some Thoughts for ESL Instructors

 

Before offering some general guidelines on how to maximize the educational value of these materials, I would suggest you read the Introduction for ESL Learners. There is no need to repeat everything said there, but I would like to restate that as an instructive unit, the synopses and movies would probably be too advanced for lower level ESL students. You should also be aware of the "indecency" issue before working with them. Although I am personally an avid believer in the imparting of real world language, I recognize that both teachers and students have their reasons for avoiding certain types of speech.

 

Before the Movie is Shown

 

Once you've decided that you have students for whom these guides and the corresponding films are appropriate learning tools, I would strongly encourage you to not let the movies stand on their own, but to embed them into an instructional unit. Obviously, the guides themselves can and should serve as a foundation for pre-film discussion, and there are, in fact, various ways that you can do this.

 

At a minimum, your students should study the relevant synopsis in the days before seeing the movie. You can then review them in class before the actual screening. One possibility is to engage in a general conversation concerning any of the themes that the film will be exploring. As you'll notice, there is a list of possible subjects for background readings and class exploration that follows the discussion questions at the end of each guide. Thus, for example, you may want to pass out an article on the religious beliefs of the Amish, in the days before viewing Witness. Unlike discussion issues that would come after the film, the pre-screening topics should simply introduce the most general themes of that particular movie. This should be easy to do, even if there are no pretenses about the film exploring profound or troubling questions.

 

For example, My Cousin Vinny is a comedy that deals with the travails of two college students from New York who are wrongfully accused of murder while driving through Alabama. Before showing it, a general topic of conversation could be whether anyone in the class has been falsely accused of any crimes, or if they know such a person. Depending on how much interest that generates, you can discuss the criminal justice system in the United States as compared to that of your students' own countries. Any topic can be useful, so long as it serves as a natural lead-in to the movie.

 

After an introductory discussion, you may want to quiz your students on the more important colloquialisms listed in the synopsis. Depending on how seriously they want to internalize new words and expressions, and depending on how much time you have, you could in fact use the entire glossary as a springboard for discussing whatever relevant vocabulary is triggered in your head.

 

For example, in the synopsis for Forrest Gump, the students learn that "I have to pee" is "to urinate," which is certainly worth knowing. But you may want to add that "to take a leak" is the most common colloquial alternative to the above mentioned phrase (at least for American males!), and as long as you're on a roll, you could move beyond bathroom terminology and throw in that "leaks" are both literally "drips," and a colloquial term for the information often released to the press by an anonymous person in a government organization! I can't cite studies which show the efficacy of this type of "stream-of-consciousness-word-spewing," but my own experience is that those students with true motivation to improve their colloquial English will devour whatever you have to tell them.

 

After the Movie is Shown

 

After viewing the movie, it would probably be best to initially create a situation where students can express their personal reactions without feeling that "they have to say something intelligent." In his book,

Seeing With Feeling: Films in the Classroom, Richard Lacey suggests

using "image-sound-skims" in which students initially are asked to mention visual or sound images that first come to mind. You might also suggest that students write down some immediate personal reactions after the movie ends, such as whether they were surprised, pleased, or upset.

If nothing else, they could note whether or not they liked it, and for what reasons.

 

Another possibility would be to review some of the more difficult vocabulary that popped up in the movie, giving the students yet one more opportunity to internalize the synopses. This would also be a time in which you could review alternative ways of saying certain things. In other words, post-film discussion is an excellent opportunity to go over both the movie itself as well as the language that is used within it.

 

Finally, you can move on to more specific issues concerning the topic of the film. As you'll notice, every synopsis has a list of suggested questions, some of which may be directed at measuring whether specific points in the movie were understood (you'll also note that most of these lists have general questions that could serve as pre-film discussion topics).

 

Of course there are very generic questions that could probably be asked of just about any movie, including some of

the following:

 

1) Is ____ an admirable character? Why, or why not?

 

2) What would you have done if you were in ____'s situation?

 

3) What was ____ really thinking when he said _____?

 

4) What would people in your country think of _____?

 

5) What does this movie tell us about Americans?

 

Any motion picture, even just an "action thriller" like The Fugitive, can instigate stimulating conversations that focus on a variety of interesting topics. Although the synopses emphasize colloquial acquisition, the viewing experience in class would probably be a richer one if there were

an attempt to put the movie into some kind of cultural context.

 

Language, Film and the American Experience

 

Depending on the film being discussed, you may wish to become more of a facilitator than an ESL instructor. If the movie deals with sensitive topics such as social issues like AIDS, as in Philadelphia, it's probably best to adopt an attitude in which you are no longer the language expert, but just another person struggling with the issues presented. As always, an important goal should be to strike a balance between setting a specific agenda and allowing the conversation to become a free-for-all.

 

Beyond the structuring of any particular type of class conversation, many of these films may yield other types of projects that can be incorporated into the classroom setting. For example, journal writing allows students the time to reflect on what they've seen before actually having to express themselves. Particular essays can also be assigned, with selected passages reviewed for further class discussion.

 

Do not hesitate to give assignments that deal with relevant topics, as a way of exploring the issues raised from a variety of perspectives. For example, before the viewing of Lost in America, you may want to find an essay or two on yuppies and their angst. Be creative. Role-playing by volunteers could serve as a basis for further conversation, and

even post-viewing field work in which students do outside research and interview relevant people could later serve as a basis for presentations on the major topics in question.

 

Ultimately, these synopses are designed to assist your students in improving their English skills. To that extent, they focus primarily on the difficult colloquial vocabulary within the accompanying films. If the students study them well, they should experience dramatic progress in overall comprehension. But as an ESL instructor and facilitator, you should strive to use the movies as more than just a tool through which to generate language acquisition. Indeed, it is my hope that because of their growing linguistic abilities, your students will converse with ever greater fluency on all aspects of the films they watch, and thus understand with ever greater insight the culture in which they're produced.


Why These Movies?

 

If you've already browsed the list of films that are treated on this web site, the first question you may ask is "Why these movies?" Indeed, many of my friends have also asked this as well, and then, before allowing me to answer, proceed to give me their own list of the definitive, absolutely necessary movies that must immediately be included on this site. I've therefore decided that I should explain my logic. In brief, all of the synopsized films on this site will generally meet the following criteria:

 

1) The dialog contains a lot of useful, colloquial English.

2) The movie itself reflects various aspects of modern American life.

3) It was popular enough to be widely available on video.

4) I personally think it's a good or even great movie.

5) Most of my ESL students would agree with me on all of the above.

 

Of course, there may be several hundred films that could meet these standards, but that's OK, since I hope to keep synopsizing more and more films. For now, it's fair to ask whether there is anything in particular that the movies have in common? More specifically, is there a theme here?

 

I would say that these motion pictures offer advanced ESL learners, and particularly those foreigners who are living in the United States, a pretty decent look into the lives, culture and language of the American people (Of course,because we are talking about movies, it's fair to say that few real people experience as much excitement as many of the protagonists do in these films). As a group, they often explore the consistent themes that form the foundation of the so-called American dream, as well as the dilemmas that people face when that dream turns sour.

 

Thus, many of the movies take serious and not-so-serious looks at our endless pursuit of material wealth, as well as the various social issues of our day, from crime and punishment to the break-up of the family to the fight against AIDS. In so doing, they explore Americans from all walks of life in their constant struggle to better their situations. Within these films we see characters who "seize the day" with their enthusiasm and spirit, and underdogs who can only serve to inspire us with their courage and decency. Of course there are those who disgust us, some who simply amuse, and some whose very lives point out the absurdity of the human condition.

 

Taken together, these films hint at the enormous diversity of background and life experience that form the American people, and to that extent,

they are windows into a multidimensional society that you may want to know more about. Indeed, if you eventually get to see a lot of them

(after studying your synopses!), you should end up with a much greater familiarity with the English language, as well as with the American culture in which it is spoken.

 

How to Read These Guides

 

The synopses are fairly self-explanatory, but you should note the following:

 

 1) Underlined words are those referred to in the definitions. If no word is underlined, the definition refers to the entry as a whole.

 

 2) Bold faced words are excellent colloquial vocabulary that you are encouraged to adopt as part of your active speech, in order to help you sound more like a native English speaker.

 

 3) The symbol :: in an entry is used to divide the words of two different speakers.

 

 4) Obviously, all words and expressions are listed in the order that they occur in the movie. The vocabulary section of each film has plot references to let the reader know approximately where they are, but since the synopses are meant to be read before seeing the film, defined vocabulary is not noted with either the precise time it occurs in the movie nor the particular character who says the words.

 

 5) Please be aware that the explanations in these synopses focus on how words are used in the context of the film. While there is frequent mention of the varied ways in which a word or expression may be more generally used, there has not been a systematic attempt to give complete dictionary definitions of the words that are defined. For clarification and further discussion of any given word, you are encouraged to consult a good English dictionary.

 

 

 

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Teachers: Make it easy as is,  take out the words to make it more difficult or give just the puzzle without words or pictures.

 

Enseignement stratégique

 

See Vie Pédagogique 104, septembre 1997, page 4

 

 

 

 


You can also use the address

 

http://station05.qc.ca/css/cybersite/reach-out/

 

which appears on the bottom of each page

for

REACH-OUT

The Internet edition of the REACH-OUT Newsletter

 

where you can click on the links to take you to:

 

ü      the sites suggested in this issue, and past issues,

ü     e-mail addresses of other teachers  (send in yours if it is not listed or has changed)

ü     the Banque des resources didatiques, a list of available cassettes and a Bon de commande

ü     associations, ped. sites, etc.

 

 

 

Ron Mastine

845-7111

1 888 847 1610

ron@csdessommets.qc.ca