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Praxis II > Praxis II 0041 > Flashcards

Praxis II 0041 Flashcards

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1
Q

Activating Prior Knowledge

A

Readers pay more attention when they relate. They naturally bring their prior knowledge and experience. Comprehend better when making connections between text, their lives, and larger world.

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2
Q

Romantic Period

A

1790-1830: Writers write about nature, imagination, and individuality. Blake, Keats, Shelley, Goeth. American Transcendentalist: Emmerson and Thoreau.

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3
Q

Victorian Period & 19th Century

A

1832-1901: Sentimental novels. Elizabeth Browning, A.L. Tennyson, Matthew Arnold, Dickens, and Bronte Sisters. Naturalist: Stephen Crane

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4
Q

Predicting or Asking Questions

A

Questioning is the strategy that keeps readers engaged. When readers ask questions, even before they read, they clarify understanding and forge ahead to make meaning asking questions is at the heart of thoughtful reading.

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5
Q

Age of Johnson

A

1750-1790: Samuel Johnson, James Boswell, and Edward Gibbon. American Colonial Period (Ben franklin, jefferson, paine)

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6
Q

Visualizing

A

Active readers create visual images based on the words they read in the text. These created pictures enhance their understanding.

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7
Q

Drawing Inferences

A

Inferring occurs when the readers take what they know, garner clues from the text, and think ahead to make a judgment, discern a theme, or speculate about what is to come.

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8
Q

Repairing Understanding

A

If confusion disrupts meaning, readers need to stop and clarify their understanding. Readers may use a variety of strategies to “fix up” comprehension when meaning goes awry.

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9
Q

Confirming

A

As students read and after they read, they can confirm the predictions they originally made. There is no wrong answer. Determining whether a prediction is correct is a goal.

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10
Q

Using Parts of a Book

A

Students should use book parts such as charts, diagrams, indexes, and TOC to improve their understanding of a reading.

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11
Q

Reflecting

A

An important strategy is for students to think about or reflect on what they read.

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12
Q

Cueing Systems

A

Cueing systems help increase comprehension: 1. Semantics, 2. Syntax, 3. Activating prior knowledge

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13
Q

Semantics

A

Cueing system, is same as context. As students read they can guess at words they do not know by considering the rest of the passage.

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14
Q

Syntax

A

Cueing system: the english language restricts the order of words in a meaningful sentence. if readers consdier both syntax and semantics they can make better educated guesses about unknown words.

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15
Q

Activating Prior knowledge

A

Cueing System: Good readers will try to fit the reading with what they already know before, during, and after they read.

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16
Q

Metacognition

A

Vital component of reading that calls for critical thinking or “thinking about thinking”

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17
Q

Miscue Analysis

A

Process of assessing the strategies that students use in their reading. When students read inaccurately

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18
Q

Comprehension

A

Skills that include the ability to identify supporting details and facts, the main idea or essential message, the author’s purpose, fact and oppinion, POV, inference, the conclusion, and other information.

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19
Q

Traditional Literature

A

Includes ancient stories, and it has a set form. Previously orally passed down, then recorded by Grimm or consider Greek tales as well

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20
Q

Modern Literature

A

More recent literature occasionally overlaps with traditional literature.

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21
Q

Parable

A

A story that is realistic and has a moral. It is didactic (teaches a lesson). Examples include biblical tales like the prodigal son and the good samaritan.

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22
Q

Fable

A

Is a non realistic story with a moral.Often has animals as main characters. Aesop, a greek slave (600BCE) is often associated with the fable. Ex. include “the fox & the Crane” it’s a type of traditional lit

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23
Q

Fairy Tales

A

Do not necessarily include fairies. Key characteristic is magic. Follows a certain pattern and presents an “ideal” to reader. Cinderella, Snowhite, Rapunzel convey message about the “proper” woman. Type of traditional lit.

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24
Q

Magic Three

A

Frequent feature of fairy tale (trinity)

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25
Q

Stereotyping

A

Characteristic of fairy tale (evil stepmother, handsome prince etc)

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26
Q

Folktales

A

are told in language of the people do not necessarily promote moral. often told just for entertainment.

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27
Q

Noodlehead stories

A

Type of humorous folktale. Has characters that reader/listener can outsmart, make listener feel superior.

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28
Q

Myths

A

Stories disigned to explain things that the teller does not understand. Greek, roman, and norse myths explain thunder sun, and earthqueakes

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29
Q

Legends

A

Legends are stories (exaggerated) about real people, places and things.

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30
Q

Romanticism

A

Movement in Lit. 18th and 19th Century in Germany. England, to europe. Emphasizes imagination, fancy, and freedom, emotion, wildness, beauty of natural world, the rights of individual, nobility of common man and the pluses of pastoral life. Wordsworth, Byron and Shelley

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31
Q

Realism

A

Movement in lit: 19th century reaction to romanticism. Embraces true to life approach to subject matter and focus on everyday life

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32
Q

Symbolism

A

Movement in lit: last 20 years of 19th century. Poetic expression of personal emotion figured strongly in the movement. Used unique symbols the poet identified with.

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33
Q

Modernism

A

Movement in lit: Associated with 1st decades of 20th century. describes content and form of a work or aspect alone. features experimentation and the realization that knowledge is not absolute. loss of tradition and dominance of technology. Einstein, Planck and Freud.

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34
Q

Surrealism

A

Movement in lit: 20th century includes surprise, unexpected contrasts, non sequitor, Paris in the 20s Authors aimed to free people from what they saw as false rationality and restrictive customs and structures. Aligned with communism and anarchism

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35
Q

Existentialism

A

Movement in lit: emphasized individual existence, freedom, and choice and influenced writers in 19th & 20th century. Contend that there is no objective, rational basis for moral choice.

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36
Q

Novels

A

Recount realistic stories that really could happen or could have happened

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37
Q

Romance

A

Presents an idealized view of life in which the characters, setting, and action are better than what one would really experience. Includes love story always fantasy

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38
Q

Confession

A

One character reveals thoughts and ideas. This particular character is a round character, whom the reader knows in detail.

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39
Q

Menippean Satire

A

Allows reader to see the world through the eyes of anohter.

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40
Q

Tone

A

reveals author’s attitude toward the writing, the reader, the subject and/or the people, places, and events in a work

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41
Q

Figurative Language

A

Use of language that encourages the reader to think about the text

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42
Q

Literal Comprehension

A

Lowest level of understanding, involves reading the lines; being able to recall detail or paraphrasing.

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43
Q

Interpretive or Inferential Comprehension

A

2nd level of understanding. Requires the student to read between the lines

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44
Q

Critical Comprehension

A

One of the highest of levels of understanding requires reading and thinking beyond lines. indicating if text is true/false, fact/opinion, propaganda, stereotypes.

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45
Q

Creative comprehension

A

readers respond often emotionally to something they are reading. the student may reply to a story by stating another way to handle the situation.

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46
Q

Story mapping

A

webbing the plot and other elements of the story.

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47
Q

Receptive Language

A

Language that is spoken or written by others and recieved by an individual that is listening or reading. understanding takes place.

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48
Q

Cognitive language

A

Received, processed into memory, integrated with knowledge already integrated, and made a part of the knowledge of the individual from which new ideas and concepts can be generated.

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49
Q

Expressive Language

A

Communication through speaking, writing, or gesturing. Involves word retrieval, rules of grammar, word and sentence structure, and word meaning.

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50
Q

Components of 2nd Language Acquisition Theory

A

AMNIA: Acquisition-learning hypothesis, monitor hypothesis, natural order hyp, input hyp, affective filter hyp

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51
Q

The Acquisition-learning hypothesis

A

Acquired system - unconscious aspect. concerned with communicating meaning (learning native language/daily interatction). Learned system formal instruction

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52
Q

The Monitor Hypothesis

A

How acquired system is affected by the learned system (grammar, syntax, editing, etc. )

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53
Q

The Natural Order Hypothesis

A

Natural order to the way 2nd language leanrers acquire target language. 1. Produce single words, 2. string words together based on meaning, 3. they begin to identify elements that begin and end sentences, 4. begin to identify different elements within sentences and can rearrange them to produce questions

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54
Q

Modern Period

A

1914-1945: W.B. Yeats, birginia woolf. in America: Rob Frost and Stein, and Faulkner, and Fitzgerald

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55
Q

Postmodern Period

A

1945-…: T.S. Eliot, George Bernard Shaw, Toni MOrrison

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56
Q

Reader-Response Critical Approach

A

Focus on reader and the reading process. Reader responds to text personally. Rejects idea of fixed meaning of the literature.

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57
Q

Shared Inquiry Approach

A

like a grad.seminar. Leader based discussion. participants are guided in reaching their own interpretation of the writing.

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58
Q

Literary Criticism

A

Defines, Classifies, analyzes, interprets, and evaluates works of literature

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59
Q

Historical Criticism

A

Uses history to understand a literary work more clearly.

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60
Q

Textual criticism

A

2 Main Processes: Recension - selection of only the most trustworthy evidence on which to base a text.
Emendation - the effort to eliminate all the errors found in even the best manuscripts.

61
Q

Feminist Criticism

A

Seeks to correct or to supplement what is regarded as a predominantly male dominant critical perspective with a female consciousness.

62
Q

Biographical criticism

A

uses knowledge of the author’s life experiences to gain a better understanding of the writer’s work

63
Q

Cultural criticism

A

Focuses on the historical social and economic contexts of a work.

64
Q

simile

A

Uses like, than, or as to draw comparison between two dissimilar things. Brings imagery to mind of reader, requires the reader to think and adds information to description

65
Q

Metaphor

A

Figure of speech containing an implied comparison in which a word or phrase oridinarily and primarily used for one purpose is applied to another which is not literally applicable.

66
Q

Analogy

A

A comparison of one thing to another thing

67
Q

Personification

A

The attribution of human characteristics to inanimate objects

68
Q

Cliches

A

Phrases that have become meaningless because of their frequent use. Writer uses to make character appear shallow or dumb.

69
Q

Allusion

A

Is a reference to a historical, literary, or otherwise generally familiar character or event that helps make an idea understandable.

70
Q

Diction

A

Author’s choice of words

71
Q

Voice

A

Term that descrives a writer’s individual writing style and combines an author’s use of dialogue, diction, alliteration, and other devices within the body of text

72
Q

Omniscient POV

A

Narrator knows all about the characters and the actions and shares this information with the audience.

73
Q

Limited Omniscient POV

A

Narrator does not share all the information abnout all the characters or all the events with the readers

74
Q

Objective POV

A

Writer tells the happenings without voicing an opinion. Never reveals what characters think or feel

75
Q

1st person singular POV

A

Story unfolds through the eyes of one character. Account may be biased by character telling story “I, me, my”

76
Q

Second Person POV

A

Employs “you” Poses problem because no one knows who “you” is

77
Q

Third Person POV

A

Narrator does not participate in the action “he,she,it” Narrator can reveal thoughts and actions of characters

78
Q

Denotation

A

saying precisely what you mean

79
Q

Connotation

A

Impression or feeling a word gives beyond its exact meaning

80
Q

Alliteration

A

The repetition of initial sounds in two or more words in a sentence or phrase

81
Q

Epigram

A

Short poem with clever twist at the end. Ben Franklin. Closed form

82
Q

Limericks

A

5 lines closed form rhyme: aabba

83
Q

Slant Rhyme

A

Half rhyme or off rhyme. Not a perfect rhyme; used to surprise or disappoint reader

84
Q

Masculine Rhyme

A

Typically uses one-syllable words to give a feeling of strength or impact

85
Q

Feminine Rhyme

A

May use a rhyme of 2 or more syllables. The stress does not fall upon the final syllable as it does in a masculine Rhyme form. Gives feeling of soft and light.

86
Q

Unrhymed verse

A

is a free verse pattern without rhyme or rhythm.

87
Q

Blank Verse

A

Is unrhyumed, but as rhythm. it is closed form and has to be in iambic pentamerter

88
Q

Iambic pentameter

A

A poetry meter in which each line contains 5 measures of one unstressed and one stressed syllable.

89
Q

Foot

A

Is the basic measuring unit in a line of poetry, and each of these unstressed-stressed syllable pairs is called an iambic foot.

90
Q

Anapest

A

Is a foot consisting of 3 syllables in which the 1st 2 are short or unstressed and the final one is long or stressed

91
Q

Trochee

A

A foot that has 2 syllables in which the first is long or stressed and the second is short and unstressed

92
Q

Dactyle

A

a foot of 3 syllables in which the first is long or stressed and the next 2 are short

93
Q

Rhyme in open form poems

A

There may be a rhyme, but if there is, the rhyme may have “slipped in” without formal pattern

94
Q

Classical Period

A

1200BCE-455CE:

95
Q

Homeric Period or Heroic Period

A

1200-800BCE Greek legends are passed along orally, including Homer’s the Iliad and the Odyssey. This is a chaotic period of warrior princes, wandering sea traders, and fierce pirates

96
Q

Classical Greek Period

A

800-200BCE: Greek writers, playwrights, and philosophers such as Gorgias, Aesop, Plato, Socrates, Aristotle, Euripides, and Sophocles all make their mark. 499-400 = Golden Period in Greece

97
Q

Classical Roman Period

A

200BCE-455CE: Greece’s culture gives way to Roman power when Rome conqures Greece in 146 CE Plautus and Terence (plays) Ovid, Horace, and Virgil

98
Q

Patristic Period

A

70-455 CE Early Christian Writings St. Augustine and Jerome. Jerome compiles the bible

99
Q

Medieval Period

A

455 - 1485 CE

100
Q

Old English (Anglo-Saxon) Period

A

428-1066 CE: “Dark Ages” Rome galls and barbarians move in to eaurope Beowulf, the wanderer, and the seafarer

101
Q

Rhythm

A

Flow or cadence of words that create mood or feeling in the reader

102
Q

Imagery

A

Descriptive language designed to create a mental image for the reader of the smells, feelings, sounds, or sights of a person, place, thing, or event.

103
Q

Hyperbole

A

Is an exaggeration; it describes something - or someone- as larger or more important than is the case.

104
Q

Understatement

A

Underplays something and presents it to be less significant than is actually true

105
Q

Word Play

A

Playful, creative use of words for a witty effect

106
Q

Symbolism

A

Use of one person, place, or thing to represent another. Loss of animal = death of childhood

107
Q

Plot

A

Plot is essentially the story line - the element that keeps the reader interested

108
Q

Order of Plot

A

Events of plot may occur in chonological or random order (flashback)

109
Q

Suspense

A

State of uncertainty or not knowing (cliffhangers ex)

110
Q

Foreshadowing

A

A character or event gives a clue or a hint as to what will occur in future action

111
Q

Sensationalism

A

Use of emotionally charged words, expressions, or events in order to provoke a strong reaction in the reader

112
Q

Climax

A

Highest point of interest in a book or story; the climax is the point at which the reader says “ah-hah!”

113
Q

Denouement

A

Ending of a book

114
Q

Progressive plot

A

Requires one to read the entire book or story to find answers to questions in the plot

115
Q

Episodic Plot

A

Features individual chapters or episodes that are related to each other but each of which is a story unto itself

116
Q

Open form poems

A

(free verse) Poet doesnt have to follow structure rules

117
Q

Closed-form poem

A

Poet adheres to form, number of lines, rhyme scheme, meter, and shape

118
Q

Sonnet

A

Closed Form. 14 lines; 2 kinds: Petrarchan and Shakespearean (italian and English

119
Q

Petrarchan Sonnet

A

2 types : octave - 8 lines and sestet- 6 lines. Typical rhyme scheme (abbaabba-cdecde (sestet varies)

120
Q

Shakespearean Sonnet

A

Lines organized in 3 groups of 4 lines (quatrains and 2 rhyming lines a couplet) Rhyme scheme: abab cdcd efef - gg

121
Q

Villanelle

A

Courtly love poem from medieval era. 5 3 line stanzas (tercets) Rhyme: aba, then a 4 line stanza (a quatrain) Rhyme: abaa

122
Q

Sestina

A

French form of poetry 6 stanzas of 6 lines

123
Q

Couplet

A

2 line stanza written in iambic pentameter

124
Q

Epic

A

Story poem that is vast in length, that is written with dignified language, that celebrates the achievements of a hero (illiad or aeneid)

125
Q

Ballads

A

Stories in song. 14th and 15th century centered on love/hate; lust/murder; knights/supernatural. Stanza with 4 lines, rhyme: ab cb lines 1 and 3 have 8 syllables; lines 2 : 4 have 6.

126
Q

Lyric

A

Moves listener/reader from story of ballad to emotion

127
Q

Determining Important Ideas

A

Thoughtful readers grasp essential ideas and important information when reading. Readers must differentiate between less important ideas and key ideas that are central to the meaning of the text.

128
Q

Synthesizing information

A

Involves combining new information with existing knowledge to form an original idea or interpretation can change the way reader thinks

129
Q

Ode

A

longer than elegy - still a type of lyric. Gives praise rather than laments

130
Q

Elegy

A

Type of lyric; lament for someone or something such as love or idea

131
Q

Input Hypothesis

A

Like natural order (can’t learn step 2 without receiving step 2 information)

132
Q

Literary Ballads

A

Post oral tradition, more closed than traditional ballad

133
Q

Onomatopoeia

A

Stylistic device in which the sound of the word imitates the sound it represents (pow, bop, bang”

134
Q

Assonance

A

Repetition of vowel sounds

135
Q

Consonance

A

involves sounds of words; is the repetition of consonant sounds especially at the end of stressed syllables

136
Q

Affective Filter Hypothesis

A

Descrives external factors that can act as a filter that immpedes acquisition. Includes motivation, self-confidence, high level anxiety.

137
Q

Carolingian Renaissance

A

800-850 CE: Texts include early medieval grammars, encyclopedias, and the like. In Northern Europe, this time period marks the setting of Viking Sagas

138
Q

Middle English Period

A

1066- 1450 End of Anglo-Saxon Hierarchy. Emergence of 12th century renaissance (1100-1200) French chivalric texts emerge

139
Q

Late/high Medieval Period

A

1200-1485 Tumultuous period chaucer, perl poet, langland as well as petrarch, dante, in Italy

140
Q

The Renaissance and Reformation

A

1485-1660

141
Q

Early Tudor Period

A

1485-1558 War of Roses ends and Henry VII claims throne in England. Martin Luther splits from Catholic church = emergence of protestantism followed by Henry VIII’s Anglican schism = Protestant England

142
Q

Elizabethan Period

A

1558-1603 Elizabeth I saves England from Spanish Invasion and domestic squabbles. Shakespeare, marloe, and thomas kyd

143
Q

Jacobean Period

A

1603 - 1625 Later Shakespear works with ben johnson and john donne

144
Q

Caroline Age

A

1625-1649John Milton and George Herbert Charles I and his Cavaliers

145
Q

Commonwealth Period or Puritan Interpregnum

A

1649-1660: Under Oliver Cromwell’s puritan dictatorship, john milton continues to write; other writers of the period include Andrew Marvell and Sir Thomas Browne

146
Q

The Enlightenment (Neoclassical) Period

A

1660-1790 Increased influence of classical literature increased reverence for logic and disdain for superstition. Deism, backlash against puritanism, american revolution

147
Q

Restoration Period

A

1660-1700: British King’s restoration to throne - post puritanism (John dryden, john locke, Aphra Behn)

148
Q

Augustan Age

A

1700-1750 imitation of virgil and horace Jonathan swift, alexander pope and volaire in france

Praxis II (2 decks)

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