Ultra Handout - 3 Flashcards
1
Q
A speech with dramatic emphasis and gestures; intended to evoke emotion in the listener
A
Declamation
2
Q
A formal speech given on a specific topic; to persuade or inform the audience
A
Oration
3
Q
unrehearsed and are delivered on the spot; not memorized
A
Impromptu
4
Q
Delivered with prepared notes and can have preparation time from a few minutes to half-an-hour; not memorized
A
Extemporaneous
5
Q
Oral reading activity with speakers presenting literature in a dramatic form
A
Readers Theater/Reading Concert
6
Q
Theater approach to performing narrative literature done by one or multiple actors
A
Chamber Theater
7
Q
Ensemble reading technique where a group of readers recite as one in coordinated voices and related interpretation
A
Speech Choir
8
Q
- Declamation
- Oration
- Impromptu
- Extemporaneous
A
Oral Interpretation
9
Q
- Readers Theater/Reading Concert
- Chamber Theater
- Speech Choir
A
Group Interpretation
10
Q
Levels of Communication
A
- Interpersonal Communication
- Intrapersonal Communication
- Group Communication
- Mass Communication
11
Q
self-talk
A
Intrapersonal Communication
12
Q
Our everyday exchanges (both formal and informal); feedback is immediate
A
Interpersonal Communication
13
Q
More than 2 individuals (small number of people) are involved
A
Group Communication
14
Q
Communication takes place simultaneously with the help of an electronic device — mass media: print, radio, television, the Internet, etc.
A
Mass Communication
15
Q
Happens when we speak with to others (f to f or virtual)
A
Verbal Communication
16
Q
Involves movements
A
Non-verbal Communication
17
Q
A powerful way of communicating (Twitter, Facebook, etc.)
A
Written Communication
18
Q
Images and Videos
A
Visual Communication
19
Q
What are the types of communication?
A
- Verbal
- Non-Verbal
- Written
- Visual
20
Q
Dreaming of instrospecting
A
Intrapersonal Communication
21
Q
It is your opinion of yourself and your worth and more on how you feel about yourself as a person.
A
Self-confidence
22
Q
It is your view on your abilities to accomplish something
A
Self-esteem
23
Q
It is self-confidence in a specific situation. This is the expectation that you will be competent and successful in a particular task.
A
Self-efficacy
24
Q
Intends to educate the audience on a particular subject. It gives information to others to enhance understanding or knowledge of the concepts and ideas presented.
A
Informative Speech
25
Makes a topic or a subject clear through concrete illustrations and examples
Explanatory Speech
26
Creates vivid pictures in the audience's mind regarding a person, an object, an event, a place or an animal
Descriptive Speech
27
Can be done through giving and explaining the synonyms and antonyms, functions, examples, and etymology
Definition Speech
28
Explains or illustrates how something is done
Demonstration Speech
29
What are the types of informative speech?
- explanatory
- descriptive
- definition
- demonstration
30
Types of Persuasive Speech
- Factual Persuasive Speech
- Value Persuasive Speech
- Policy Persuasive Speech
31
Seeks to change or reinforce listeners' attitudes, beliefs, values, or behavior.
ex. Ads on TV, radio, and the internet.
Persuasive Speech
32
Attempts to persuade the audience to believe whether something happened is true or false and is backed with strong evidence
Factual Persuasive Speech
33
Tells whether something is right or wrong, beautiful or ugly, moral or immoral, good or bad
Value Persuasive Speech
34
Used to convince the audience to either accept or reject a certain policy, candidate or rule
Policy Persuasive Speech
35
Designed to captivate an audience's attention and amuse or regale them while delivering a message
Entertainment Speech
36
A speech given on different occasions, occasions that bring people together to celebrate, thank, or praise someone, or to mourn
Ceremonial/Epideictic Speech
37
The circumstances surrounding or the occasion for a speech
Kairos (Greek)
38
Types of Ceremonial Speech
- introduction
- nomination
- toast
- keynote address
- award presentation
- acceptance
- eulogy
- commencement address
39
A person/speaker provides information to the audience about the main speaker
Introduction
40
It officially names someone as a candidate for an office or position
Nomination
41
A short message of congratulations, appreciation, and remembrance that is usually followed by a round drinks — raising or clinking together of goblets or glasses
Toast
42
Usually presented at or near the beginning of a meeting or conference
Emphasizes the significance of the topic — purpose of the meeting — motivates the audience to work harder
Keynote Address
43
The audience came to see and listen to the winter of the award, not the presenter
Award Presentation
44
Given to express gratitude
Acceptance
45
A speech given at a memorial service to pay tribute to the deceased
Eulogy
46
A speech delivered at a graduation or commencement ceremony of an educational institution
Commencement Address
47
A method of delivering a speech from a text written word-for-word
Manuscript speech
48
A speech that is committed to memory
Memorized Speech
49
A speech that is delivered without notes or a plan, and without any formal preparation
Impromptu Speech
50
The speech is delivered by speaking from a written or memorized general outline as a guide
Extemporaneous Speech
51
Methods of Speech Delivery
- Manuscript
- Memorized
- Impromptu
- Extemporaneous
52
Elements of Stage Arts
- Script/Text, Scenario, Plan
- The Process
- The Product
- The Audience
- Playwright
53
The domain of the playwright in the theater — what the director uses as a blue print to build a production
Script, scenario or plan
54
The playwright's work is brought to realization by the director, actors, designers, etc. that come together on the script, scenario, or plan
The Process
55
The end result (final product) of the process of work involved; what the audience will witness as they sit in the theatre and view the work
The Product
56
Can change a performance, inspire actors, and create expectation
The Audience
57
The initial creator of the script, scenario, or plan
Playwright
58
Is present at all performances; communicates remotely with technical crew — calls all cue for lighting, sound effects
Coordinate the run crew for any scene changes
Stage Manager
59
Responsible for making sure that all the technical aspects of a show are carried out in a timely fashion
Technical Director
60
Takes a concept drawing or description from the Stage Director and produces a detailed design — close collaboration with the Lighting Designer and Master carpenter
Set Designer (scenic artist, set painter, assistant set designer)
61
Turns a completed set design into the actual set pieces needed for a show
Master Carpenter (set crew)
62
responsible for coordinating the deployment of lighting instruments at put-in as well, along with the Master Electrician
Lighting Designer
63
Responsible for controlling the lights during the show
Takes cues from the stage manager to change the lighting at the right times during performances
Light Board Operator
64
finds, makes, and/coordinates costumes for the cast
Costume Designer (master stitcher, tailor, seamstress, costume crew)
65
Responsible for ensuring that we have the proper makeup for the cast
Makeup Artist
66
Responsible for designing dances that may be needed and teaching them to the cast
Choreographer
67
Responsible for locating anything (weapons, bottles, luggage, wands, teapots, etc) — carried by the actors on stage
Props Manager
68
Performs set changes and other miscellaneous tasks necessary during the show
Run Crew
69
The ability of a room to direct or absorb sound waves based on its size , shape, and materials used.
Acoustics
70
The part of the stage that stretches beyond the proscenium arch toward the auditorium
Apron
71
Also known as "in the round" (the playing space is surrounded with seating on four sides)
Arena Stage
72
Pipe that stretches across the stage
Batten
73
The performance space in which the seating and playing space are reconfigurable
Black Box
74
replacement for the unlucky, "good luck"
Break a Leg
75
A vertical wall of a set
Flat
76
Typically with a bare light bulb, a lamp center stage once the theatre "goes dark" every night — for practical reasons, to prevent someone from walking into a dark theatre and tripping
Ghost Light
77
A sunken area at the front stage where the orchestra performs during the show
Orchestra Pit
78
An imaginary line that runs across the stage along the upstage side of the proscenium arch, often made of plaster
Plaster Line
79
A horizontal surface on a set or portable staging unit
Platform
80
The arch, or frame around the stage, a portal between backstage and the apron
Proscenium
81
Toward the audience
Downstage
82
Away from the audience
Upstage
83
The ACTORS left facing the audience
Stage Left
84
The ACTORS right facing the audience
Stage Right
85
The AUDIENCE left facing the stage
House Left
86
The AUDIENCE right facing the stage
House Right
87
Toward the centerline of the stage
Onstage
88
Away from the centerline of the stage
Offstage
89
Retractable, nesting, seating risers for flexible spaces
Telescopic Seating
90
Playing space surrounded by audience seating on 3 sides
Thrust Stage
91
Playing space surrounded by audience seating on 2 sides
Traverse/Ally Stage
92
An ally used as an entrance or exit, behind or alongside seating in the auditorium
Vomitorium
93
Have an architectural frame, known as the proscenium arch, although not always arched in shape
Proscenium Stage
94
The auditorium with the audience sitting on 3 sides — not always square but may be semi-circular or half a polygon with any number of sides
Used to increase intimacy between actors and the audience
Thrust Stages
95
Have a central performance area enclosed by the audience on all sides — arrangement is rarely round, more usually the seating is in a square or polygonal formation
Theatres in the Round
96
Are large scale auditoria and have a central stage area with audiences on all sides, similar to theatres in-the-round
— usually rectangular (more like a sports arena) with tiered seating
Arena Theatres
97
Are flexible performance spaces which when stripped to their basics are a single room painted black, the floor of the stage at the same level as the first audience row
Black-box or Studio Theatres
98
Usually consist of a raised rectangular platform at the end of a room
Platform stages
99
Are similar to circuses and have a central circular arena surrounded by concentric tiered seating
Hippodromes
100
Usually performed in a non-traditional theatre space such as a pub, home or warehouse
Site-specific Theatre
101
Depends on emotional appeal
Persuasive Writing
102
A subjective response to personal experience
Expressive Writing
103
Conveys specific information about a special subject to a specific audience
Technical Writing
104
Exposes a topic analytically or objectively such as news reports
Expository Writing
105
Content: factual, straight-forward
Audience: specific
Purpose: inform, instruct, persuade
Style: formal, standard, academic
Tone: objective
Vocabulary: specialized
Organization: sequential
EXPECTS A RESPONSE OR ACTION FROM THE READER
Technical Writing
106
Content: imaginative, metaphoric, or symbolic
Audience: general
Purpose: entertain, provoke, captivate
Style: informal, artistic, figurative
Tone: subjective
Vocabulary: general, evocative
Organization: arbitrary, artistic
DOES NOT NECESSARILY EXPECT A RESPONSE OR ACTION FROM THE READER
Creative Writing
107
Properties of Technical Writing
-subject matter
-audience
- expression
-style
-arrangement of materials
108
What will I write about?
Subject Matter
109
Who am I writing for? Or who are my intended readers?
Audience
110
Refers to two basic modes in which a technical report has to be delivered — writing it or reading it
Expression
111
How the material is written
Style
112
How ideas should be organized in chronological, spatial, or logical order, from general to specific or specific to general
Arrangement of Materials
113
Five important principles in Good Technical Writing
1. Always have in mind A SPECIFIC READER
2. EXACT PURPOSE
3. Use language that is SIMPLE, CONCRETE, and FAMILIAR
4. Check your writing according to this principle: "First you tell the reader what you're going to tell him, then you tell him what you've told him."
5. Attractive report
114
Products of Technical Writing
- Business Letter
- Contract
- Monograph
- Printed Action Memo
- Graphic Aids
- Instructional Manuals
- Brochures
- Proposals
- Memoranda
115
Written for the purpose of applying for a job, making requests, seeking appointments, etc.
Business Letter
116
A written agreement between two people under mutually agreed terms
Contract
117
A detailed essay or book on a very specific topic of interest on their specific fields — written by professionals Or academicians
Monograph
118
A ready-format memorandum that only requires a checkmark on the appropriate box that contains the message — useful for busy people
Printed Action Memo
119
Drawings, sketches, and illustrations that aid the readers in understanding the presented data
Graphic Aids
120
Written to guide the readers on how to assemble, maintain, and operate an apparatus, machine, or gadget
Instructional Manuals
121
Pamphlets or flyers that endorse a product
Brochures
122
Written suggestions on how to make the company or organization more productive and successful
Proposals
123
Are inter-office written communication used to disseminate information
Memoranda
124
Do's of Technical Communication
- abide relevant laws
- abide professional code of conduct
- tell the truth
- be clear
- avoid discriminatory language
- acknowledge assistance from others
125
Don'ts of Technical Communication
- False Implications
- Exaggerations
- Euphemisms
- Misleading your readers
126
Assuming the outcome of a project or making sweeping generalizations
False Implications
127
Expressing situations in extreme proportions
Exaggerations
128
Writing about the situation in seemingly good conditions even though they are not
Euphemisms
129
Dividing something into groups, classes, categories, etc.
— look for relationships among them and to organize them into groups (similarities or differences)
Classification
130
2 methods of defining terms:
Simple and Extended Definition
131
Could be formulated by bearing in mind its 3 parts: species, genus, and differentia
Simple Definition
132
The term to be defined may be introduced by a determiner
Species
133
The class/category where the term belongs is always connected to the species by a linking verb
Genus
134
Written to give the characteristics of the term make it different from other terms belonging to the same genus
Differentia
135
Example of simple definition:
(Species:) Language (Genus:) is a form (differentia:) of communication.
136
Done by stipulation, operation, explication, cause and effect, classification, example and other rhetorical functions.
Expanded/extended Definition
137
- explains how something works, how something is done, or how something is made — sequence, instructions, and procedure
- use the present passive tense: is, are + v + ed. (ex. Is controlled)
- use sequence markers (first, second, etc.)
Description of a Process
138
An explanation of a system or parts of an apparatus
- what is it (machines device, apparatus?)
- what is its function? etc.
Description of Mechanism
139
Expository Techniques
- classification
- definition
- description of a process
- description of a mechanism
140
Pointers when defining terms
- never give definitions of a term that include any of its derivatives
- do not use "is where" or is when to define a term
- use the simple present tense (active and passive voice)
- use relative clauses to give additional information
141
Nature: fully personal
Purpose: exchanging personal or
family related affairs and information
Scope: Limited and contains only personal information
Structure: Does not follow any recognized structure
Formality: informal
Personal Letters
142
Size: may be concise or large in size
Types: cannot be categorized
Salutation: Dear Friends, my dear x, dear x, etc.
Language: may be easy, poetic, emotional
Copy: may or may not be preserved
Method: Uses only direct method
Personal Letters
143
Nature: Impersonal and universal
Purpose: exchanging various business related issues and information
Scope: wide and contains various types of business information
Structure: follows officially organized structure
Formality: maintains formal rules and procedure
Business Letters
144
Size: concise and avoids irrelevant matter
Types: can be categorized differently
Salutation: Sir, Dear Sir, Dear Mr. X etc
Language: should be easy and simple
Copy: should always be preserved
Method: uses direct and persuasive method
Business Letters
145
Optional Parts of a Business Letter
- attention line
- subject line
- identification initials or reference initials
- enclosed or enclosed reference or enclose notation
- copy notation
- mailing notation
146
Used when the letter urgently needs to be received by the best person who can handle it
Attention line
147
used in short reports to let the reader know the content of the letter immediately
Subject Line
148
This includes the initials of the secretary or typist who took the dictation in lower case and initials of the one who dictated or dictator in upper case placed at the lower left hand corner of the letter two spaces below the last line of the signature part
Identification Initials or Reference Initials
149
Composed of the attached materials on the letter
Enclosed or enclosed reference or enclosure notation
150
Consists the names or department of other people who also received the letter
Copy Notation
151
This notation is indicated on the original copy and all the duplicate copies
ex. cc: Mr. John Paolo Sarce
cc: Human Resource Department
Carbon Copy Notation (cc)
152
This is a notation not indicated on the original copy but indicated on all duplicate copies
ex. bcc: Miss Sarah Mae Amata
Blind Carbon Copy Notation (bcc)
153
The special postal services such as air mail, special delivery, or registered mail
Mailing Notation
154
includes the company name, company mailing address, and company contact numbers; —contain the company logo or symbol of the organization
Letterhead
155
Contains the month, day, and year when the business letter was written
Dateline
156
Consists of 3-5 lines
- 1st line: complete name as well as the job title of the receiver
- 2nd line: complete position of the receiver
- 4th line: complete division or department of the receiver, and the complete name of the company or organization followed by the complete address of the company or organization
Inside Address
157
Composed of the word "Dear" followed by the last name of the receiver of the letter; use the colon (American English) at the end of the salutation or comma (British English)
Salutation
158
The message of the writer
Body of the Letter
159
Sometimes called CLOSING, the part where the send says goodbye to the receiver of the letter in a formal way
Complimentary Close
160
Composed of the complete typewritten name of the writer and his official designation, or the name of the company
Signature Line
161
The sender clearly scribing or affixing his specimen signature on the space between the complimentary close and the printed name
Written Signature
162
Does not include any punctuation after any part of the letter except body of the letter
Open Punctuation
163
The most common style of punctuating a business letter which includes punctuation on salutation and complimentary close only
Standard Punctuation
164
Uses comma (British Style) or colon (American Style) after the salutation and uses comma after the complimentary close
Mixed Punctuation
165
Sometimes called cover letter; usually accompanied by your resume
Application Letter
166
Three Types of Resume
- Chronological Resume
- Functional Resume
- Combination Resume
167
Focuses on the employment history of the applicant — ideal for several work experiences showing steady career growth
Chronological Resume
168
Focuses on skills rather than on employment history — ideal for fresh graduates seeking for their first job
Functional Resume
169
Focuses on drawing the best features or strong points of chronological and functional resume
Combination Resume
170
A letter that asks for a particular information or assistance
Letter of Inquiry
171
Written in response to a letter of inquiry which directly answers all the inquiries
Letter of Reply or Response
172
Commonly used everywhere; its main purpose of this is to request for something you need
Letter of Request
173
Written for the purpose of purchasing items that are for sale
Letter of Order
174
All parts of this business letter start at the left margin
Full Block Style
175
Places the inside address and all paragraphs at the left-hand margin while the heading, dateline, and complimentary close start at the middle part of the paper or #3 on the top ruler of MS Word going to the right margin
Modified Block Style
176
Like the block style however it follows the rule of indention to its paragraph — make use of standard punctuation
Semi-Block Style
177
Similar to the Full block style, beginning all parts of the letter at the left margin — the heading is placed at the center upper part of the letter — follows the open punctuation and omits the complimentary close
Simplified Style
178
Makes use of indentions which have an uneven number of spaces in the various elements of the letter
Indented Style
179
The first line of each paragraph is aligned with the inside address and salutation flushed at the left. The lines succeeding the first line are indented five spaces
Hanging-Indented Style
180
It deals primarily with the text and not with any of the outside considerations (author, the real world, audience, or other literature)
Meaning is inherent in the text
Formalist Criticism
181
Believes that a piece of writing does not have one meaning
Deconstructionalist Criticism
182
Relies heavily on the author and his world
Historical Criticism
183
Concerned with comparing the work in question to other literature
Inter-textual Criticism
184
Concerned with how the work is viewed by the audience (readers)
Reader-Response Criticism
185
Seeks to see how well a work accords with the real world
Mimetic Criticism
186
Attempts to explain the behavioral underpinnings of the characters within the selection; analyzing the actions and thoughts
Psychological Criticism
187
Assumes that there is a collection of symbols, images, characters, and motifs (i.e. archetypes) that evokes basically the same response in all people which seem to bind all people regardless of culture and race worldwide
Archetypal Criticism
188
Concerns with the analysis of the clash of opposing social classes in society, namely; the ruling class (bourgeoisie) and the working class (proletariat)
Marxist Criticism
189
Rules of Teaching Grammar
- Context
- Use
- Relevance
- Economy
- Nurture
- Appopriacy
190
Teachers should guide them in understanding how grammar works in real communicative situations or contexts
Rule of Context
191
Teacher should teach grammar for communication's sake
Rule of Use
192
Teacher should make sure that grammar lessons have personal relevance and life relevance
Rule of Relevance
193
Teachers should provide manageable and comprehensible input and allocate enough
Rule of Economy
194
A teacher is a mentor, a friend, a parent, counselor, and so not just a knowledge dispenser
Rule of Nurture
195
Teachers should be able to apply these rules of teaching grammar according to the students differences (age, proficiency level, learning needs, interests, expectations, skills, learning styles, beliefs, attitudes, and values)
Rule of Appropriacy
196
Modes of Teaching Grammar
- linguistic mode
- story-telling mode
197
Grammar Teaching should not only for understanding the rules but also for including the reasons of different sentence formations in different contexts
Linguistic Mode
198
It is an effective way to apply what the students learn to real communication
Story-telling Mode
199
The 3 Models in Teaching Literature (Carter and Long, 1991)
- Cultural Model
- Language Model
- Personal Growth Model
200
Views literature as a source of facts and it is teacher-centered where the teacher passes knowledge and information to the students
Cultural Model
201
Integrates language and literature as a source to improve students language proficiency while learning the language
Language Model
202
Focuses on developing students' emotions and personal characteristics; requires students to relate and respond to the themes and issues by connecting them to their personal life experiences
Personal Growth Model
203
The Frameworks to Consider in Teaching Literature
a. Literary Criticism Theories
b. Genres, Branches, Authors
c. Cultural and historical contexts
d. Models and approaches in Teaching Literature
e. Comprehension Levels in Reading Literature
204
Understanding Vocabulary in the text
- preview vocabulary before reading the text
-review vocabulary during or after the text
Lexical Comprehension
ex. What does 'enchanted' mean?
205
5 types of Reading Comprehension
- lexical
- literal
- interpretive
- applied
- affective comprehension
206
Answer Who, what, when, where
- look in the text to find the answers written in the story
- ask questions from beginning, middle, and end of the story
Literal Comprehension
ex. Who was the girl who lost the glass slipper?
207
Answer What if, why, and how questions
- understand facts that are not explicitly stated in the story
- illustrations may help to infer meaning
Interpretive Comprehension
ex. How did the pumpkin turn into a carriage?
208
Relate story to existing knowledge or opinion
- challenge children to support their answer with logic or reason
Applied Comprehension
ex. Do you think Cinderella was wrong for going to the ball after her stepmother told her she couldn't go?
209
Understanding social and emotional aspects
- connect motive to plot and character development
Affective Comprehension
ex. What do you do when you're disappointed because you cannot do something fun? Is that how Cinderella reacted?
210
The 3P's Plan in Teaching Literature
1. Preparation
2. Presentation
3. Performance
211
- motivating activity
- reading the poem
- knowing about the author's life
Preparation
212
- analyzing the poems form and structure
- drawing out the images from the poem
- explaining the literary devices used
- unveiling the poem's message
Presentation
213
- comparing the poem with another
- doing reflective tasks
Performance
214
Consists of pre-literary activities that allow students use their linguistic abilities for a meaningful literary experience
The Preparatory Stage
215
Allows students opportunities to express, negotiate, and refine their interpretations of the text
The Interpretative Phase
216
The final stage; it enables students to view a text as a unique whole
The Synthesis Phase
217
1 unstressed syllable — 1 stressed syllable
Iamb
218
1 stressed syllable — 1 unstressed syllable
Trochee
219
2 unstressed syllables
Phyrric
220
2 stressed syllables
Spondee
221
2 unstressed syllables — 1 stressed syllable
Anapest
222
1 stressed syllable — 2 unstressed syllables
Dactyl
223
Main reference for the entire course; contains readings, teaching points, drills, activities, and tasks for everyday lessons
Textbook
224
Usually accompanies the textbook; provides exercises and drills
Workbook/Skillbook
225
Contains detailed rationale for the textbook
Teacher Guide/Manual
226
Combines the features of the textbooks and workbooks
Work Text
227
Develops independent study through self-paced instructions
Module/Self-Learning Kit
228
Provides general information on various topics (encyclopedia, dictionary, atlas, manuals, etc.)
Reference Book
229
Audio and Visual materials like radio, television, and the computer
Multimedia Instructional Materials
230
The views and beliefs or theories of language and language learning on which planning is based
Approach
231
Coverts the principles in the first level (approach) into more practical aspects of syllabus and instructional materials
Design
232
The techniques and management of the classroom itself
Procedure
233
Contextual Factors Affecting Materials Preparation
- Learner Factors
- Setting
234
- age, interest, level of proficiency in English, mother tongue, preferred learning styles, etc
Learner Factors
235
Role of English in the country, role of English in the school, management and administration, resources available, etc.
Setting
236
Active Approaches in Language Learning
- inquiry-based learning (IBL)
- problem-based learning (PBL)
- project-based learning (PrBL
-research-based learning (RBL)
237
Involves tasks requiring learners active participation in finding answers to curricular questions
Inquiry-Based Learning (IBL)
238
Solving open-ended questions that serve as the main problem that the learners will work on
Problem-based Learning
239
An approach but has evolved as a teaching method that engages learners in a series of planned tasks resulting to the generation of solutions to real world problems
Project-Based Learning (PrBL)
240
This lets the students follow the lead of the teacher as the entire class engages in one inquiry together.
Structure Inquiry
241
The teacher chooses topics and identifies the resources that the students will use to answer questions
Controlled Inquiry
242
The teacher chooses topics or questions and students design the product or solution
Guided Inquiry
243
Students are allowed to choose their own topics without any reference to a prescribed outcome
Open-Ended Inquiry
244
4 types of Inquiry
- structured
- controlled
- guided
- open-ended
245
Open Ended Tools in Facilitating Language Learning
- CyberKids
- Calameo
- TikTok
-Storybird
- Lulu
- Flipsnack
- Penzu
246
- provide a voice for young people on the internet
- publish original creative work by kids ages 7-12
CyberKids
247
- use to do magazines
- perfect for smaller writing projects — brochure, flyer design
Calameo
248
-designed for K-6 classrooms
- used to publish digital and printed books of all kinds
TikaTok
249
- students can create storybooks, long chapter books, and poetry books
Storybird
250
Great information database for self-publishing
Lulu
251
- flipbook creator
- simple as uploading a PDF file
Flipsnack
252
Focus is on online journaling
Penzu
253
A global ecosystem connecting classes throughout the world
Belouga
254
Teachers can connect their classes around the world who are interested in collaborating on a special project together
Epals
255
Empowers teachers and students to explore the world through experiences that spark curiosity, kindness, and empathy
Empatico
256
A rhyme consisting of a single stressed syllable (hat/cat)
Masculine
257
Found in 2 rhyming syllables — 1st: stressed, 2nd: unstressed (stranger/danger)
Feminine/Double
258
Involves 3 rhyming syllables (mystery/history)
Triple
259
Rhyming words where the final consonant sounds is the same ( ill / shell)
or the initial and final consonant sounds are the same — the intervening vowel sound is different (hall / hell)
Para Rhyme/Half
260
The rhyme is forced or somehow distorted (tomb / worm, wing / caring)
Imperfect
261
Where the similarity is not in the sound — but in SPELLING
(daughter / laughter)
Eye
262
abab
Alternating/Cross rhyme scheme
263
abba
enclosed rhyme scheme
264
AA and bb
Couplets
265
A language that departs from what speakers or writers ordinarily use in order to achieve a special meaning or effect.
Figurative Language
266
- to create an artistic image
-originates from the Greek word "trepein" — to turn, to alter, to change
Can change the USUAL MEANING of words to convey a vivid picture or description
Literary Trope
267
Changes word order, pattern, syntax, sounds, or letters instead of altering the meanings of words or phrases
Literary Scheme
268
Either the protagonist or antagonist
Main Characters (central characters)
269
People who serve as a backdrop to the main characters story; usually the allies of the protagonists who provide support
Supporting Characters
270
The most developed character since they have to undergo character transition and changes to respond to their experiences
Round/Dynamic Characters
271
Do not show complex emotions or complex motivations
Flat Characters
272
Are those who do not change over time; the personalities do not evolve
Static Characters
273
exhibit contrasting qualities of the protagonist or another character in the story to highlight the difference
Foil Character
274
Those that are usually stereotyped or those that are recognizable and are based on cliches
Stock Characters
275
Secondary characters of importance — sometimes close to the main characters and share the same intention with them or play neutral
Deuteragonists
276
Help the protagonists to make decisions, handle situations, analyze problems
Confidantes
277
Elements of Fiction
- mode
- tone
- style
- persona
278
The emotive atmosphere; emotional impact to the readers
Mode
279
- authors attitude towards a subject that serves as the backdrop of the story (intellectual, hopeful, melancholy, etc )
Tone
280
Refers to the author's selection and placement of words in a sentence, sentences in a paragraph, paragraphs in a story
Style
281
The voice chosen by the author
Persona
282
- a french poetic form heavily reliant in REPETITION
- 15 lines in 3 stanzas: quintet, quatrain, and sestet
- 2 rhyme sounds repeated throughout the poem
Rondeau
283
- originated in Malaysia
- any numbers of quatrains — rhyme abab
- 2nd and 4th lines - 1 quatrain repeating — as the 1st and 3rd lines follow
Pantoum
284
- consist of 5-12 loosely related but self-contained couplets — same length
- melancholy subject
- repeat the final words of the 2nd line at the end of all the 2nd lines
- Persian and Urdu sources
Ghazal
