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known as "appeals" – are known by the names of ethos, pathos, and logos. They are all means of persuading others to take a particular point of view.

A video that I used to understand ETHOS, PATHOS, and LOGOS:

https://www.youtube.com/watch?v=x4tTugqBkJU

After reading about Ethos, Pathos, and Logos, I decided to expand on some ways that they could be introduced to the classroom. The video below and the others attached to the playlist are great for teaching students to identify when specific persuasion arguments are being used to manipulate their behavior. As I watched the commercials, I realized that I could use them to demonstrate how to identify ethos, pathos, and logos. I could show a series of commercials to the class and have them identify the method being used. This could be a quality spring board for teaching students how to discern the same information when reading texts. For my students, I am not sure whether I would use most of these same commercials, or if I would focus on kid-oriented commercials. Kid-oriented commercials may be more interesting and relateable, but children are sometimes influenced by adult-oriented commercials as well. Ultimately, my decision would be based on the personality of the class that I am writing the lesson for.

https://www.youtube.com/watch?v=SfAxUpeVhCg&list=PLUt_PBZQzj_D7wPfnSX-m9Ho1pfcq_CgG

Primary Resources:

In class we discussed the use of primary resources to make history lessons more meaningful---primary resources also serve to eliminate bias from 3rd party sources such as the way slaves are described in the McGraw Hill textbook pictured above.

According to the UCLA Institute on Primary Resources, primary resources may be defined as:

“Generally unpublished materials such as manuscripts, photographs, maps, artifacts, audio and video recordings, oral histories, postcards, and posters. In some instances, published materials can also be viewed as primary materials for the period in which they were written. In contrast, secondary materials, such as textbooks, synthesize and interpret primary materials. Following are excerpts and examples from a variety of explanations provided by institutions that utilize primary resources (UCLA, 1999).”

Primary resources include the following:

Diaries, journals, speeches, interviews, letters, memos, manuscripts and other papers in which individuals describe events in which they were participants or observers;

Memoirs and autobiographies;

Records of organizations and agencies of government;

Published materials written at the time of the event;

Photographs, audio recordings, moving pictures, video recordings documenting what happened;

Artifacts of all kinds; and

Research reports in the sciences and social sciences.

(UCLA, 1999).

I found this site specifically for helping teachers a few weeks ago...

I was happy to find this information from the Japanese Internment. However, I realized that the Internment is often left out of school curriculum. While the resources to study it may be available, teachers may skip using them in favor of meeting mandates.

I was more than excited to have found clear examples of teachers using primary resources on this site. I enjoyed this video---a demonstration and interview of a 4th grade teacher guiding her students though using political cartoons to draw conclusions.

http://teachinghistory.org/best-practices/teaching-in-action/23894

Ipr.ues.gseis.ucla.edu,. (2015). UCLA Institute on Primary Resources - Definition of Primary Resources. Retrieved 13 November 2015, from http://ipr.ues.gseis.ucla.edu/info/definition.html

Teachinghistory.org,. (2015). Massive Resistance through Political Cartoons | Teachinghistory.org. Retrieved 29 October 2015, from http://teachinghistory.org/best-practices/teaching-in-action/23894

Interactive Writing:

Transcripts of interractive writing between teachers and their classes.

http://readingrecovery.org/images/pdfs/Conferences/NC09/Handouts/Roth_Interactive_Writing.pdf

The Reading Rockets include some clear strategies for interactive writing. What I like best, is that there are also some specific supports mentioned for older students (most other sources discussed interactive writing in an emerging literacy context).

http://www.readingrockets.org/article/interactive-writing

What I like best about the concept of interactive writing is that it helps to explicitly model how to go about writing a sentence. Because interactive writing involves plenty of modeling, this could be a great way to use mentor texts that model particular sentence structures.

Jones, Reutzel, Et Al. (2010) compare the use of interactive writing and writer’s workshop (as described by Fletcher & Portalupi (2001)). Results did not discern a significant difference between the effectiveness of the two strategies in comparison, however it did find both strategies to be significantly effective.

https://writers-workshop-ridergroupproject.wikispaces.com/file/view/writer's+worshop+article.pdf

resources:

Cox, C. (2012). Literature Based Teaching in the Content Areas. Thousand Oaks, CA: SAGE Publications, Inc.

McCarrier, A., Pinnell, G. S., and Fountas, I. C. (2000). Interactive writing: How language and literacy come together.Portsmouth, NH: Heinemann

Story line (Alliance Theatre):

Students and teacher take on the role of people living though historical events. Using the opportunity to explore perspectives from a “first-hand” account, story line allows for students to take explore Social Studies concepts in depth.

The Storyline Method is based on the theory that knowledge is complex and many layered, that learning is guided by one's prior knowledge and experience, and that learners construct their own meaning through action and experience. The Storyline unit creates a context for learning with the active involvement of the child. It provides tasks which arise from the context which the child sees as significant and meaningful within it. The Storyline topic gives the child opportunities to develop understanding and skills with the support of the context.

The critical elements of a Storyline unit are:

Setting the scene in a particular time and place

People and or animals

A way of life to investigate

Real problems to be solved

The development of the Storyline unit by the teachers and students is guided by the following features:

The topic line is a logical progression and a narrative sequence.

The topic writer sets out key questions within each episode that all students must address.

Each key question relates to the particular episode of the narrative.

Each episode has infinite potential in terms of possible development and investigation. The extent of the investigation will be dependent on the innovation and personal experience of each student. There is, therefore, an optimum level at which each episode and key question can be investigated by each pupil.

Each child will reach different levels within each key question and will return to the Storyline for the next question.

There are elements of the story line to be cautious of---our cohort discussed some of the negative ramifications of portraying the Civil War and having students “costume” as slaves. I had mixed feelings about this. I felt that the character I played in the storyline helped me to become a little more empathetic to the personal struggles that White conductors of the Underground Railroad were likely to have had as a result of risking their lives, families, and comfort for the sake of people they likely did not personally know. If done properly, there is a chance that the “costuming” of slaves could become a quality learning experience. I loved that the storyline employed several different perspectives. I also like that the storyline encouraged us to think of our characters and other historical figures within the context of their time. In anthropology, one learns never to judge a culture from “the outside looking in.” Otherwise, the culture under the microscope will appear “wrong” or inferior. A similar concept is applied to History here.

After class, I spoke with our guest about how implementation usually “looks” in an actual classroom setting. She tells me that that it takes around 1 week. She and I agreed that it works best if one takes a “Thematic Approach” to teaching. Subject matter should be made to interconnect with other subjects/content areas.

http://www.storyline.org/history/topicweb-storyline.html

http://storyline.org/Storyline_Design/Welcome.html

Playing with the “Where I’m from poem”

I am from pain.

from sobbing till I choke,

from stinging cheeks and static in my tired limbs,

from buying flowers and a new dress for the worst reason,

from freezing in the summer.

I am from happier times.

from making summer plans,

from Korean barbecue and jewel encrusted saunas,

from 15 years of friendship.

I am from the best kind of sisters,

From never getting too old for sleepovers,

From wine,Disney karaoke, and burnt pizza because she was too busy dancing to watch the oven...

The where I am from poems we did in class seemed to focus on physical location. I thought it would be interesting to play with the idea of claiming to be from an emotional state of being, or from prior experiences. This is by no means a final draft of a poem--- it’s what I doodled in my notebook when I first got the idea. May play with it again later----I might ask students to play with “being from” a prior experience rather than from a physical space.

Kids enjoy classes like shop, gym, and band because there's a premium placed on doing the activity rather than talking about it.

Fletcher, R., & Portalupi, J. (2001).

Comedy clips from Colombian born actor, writer and comedian Andrew Kennedy. To learn more about Andrew visit his website at www.andrewkennedylive.com

Code-Switching

Bilingual Texts/Code-Switching

Students may enjoy seeing examples of code-switching in speech…next, learning how we write the way we speak…using these topics to segway into how to adopt code-switching into our work in the writing work shop.

Bilingual texts can also help establish relationship with the community---encourage parents to share as much about home country, home language as they please. Also encourage parents to write and read in home language with their child.

Ebony Sea= Gullah

Gullah Resources:

http://gullahgeecheenation.com/2012/07/12/lunin-de-chillun-the-gullahgeechee-story-in-childrens-and-youth-books/

AAVE Studies:

http://jolle.coe.uga.edu/archive/2011_1/mccreight.pdf

We need Diverse Books--great source for finding books that tie-in lessons on code switching, diverse dialects, and books with non-typical protagonists

http://weneeddiversebooks.org

I find that I like bilingual text like the one above. The text is both written in English and Spanish on the same pages. Parents at linguistically diverse schools such as Indian Creek are often left out of the learning experience by teachers who do not speak the same language. I think they might be both appreciative and relieved if asked to read to their children in their home language. I could have a translator write down general comprehension questions for stories read, and the parents could do their best to support the development of those skills in their own language. In school, we can practice the story in the English language. I notice that bilingual text like these tend to be available in Spanish but not in other languages like Somali, Burmese, Koren, Vietnamese, or Arabic---all languages spoken in my classroom. I would also have to be weary of the dialect of various languages that bilingual texts are written in.

Bilingual Texts

Bilingual texts support both LOTEs (Languages Other Than English) and non-standard English dialects. There seems to be lots of texts available for Spanish speakers. Will need to work harder to find texts that support other languages. For classroom use, I hope to get more books that feature both languages at the same time.

Show; Don’t Tell:

Each of these lessons uses a picture book to demonstrate a strategy for writing narrative, expository and persuasive texts. It is always best to read the book in its entirety for enjoyment first.

http://www.sps186.org/resources/languagearts/instruction/?p=22426

Below, there is an example of a mini-lesson, whiteboard-ready writing samples help students spot the difference between telling or reporting information that holds the reader back and writing that involves the audience by showing what’s happening in stories.

Read it aloud with expression, then ask:

Do you understand what the author has written? Does it make sense? Celebrate the fact that your students do understand the writing: The writer successfully carried meaning to his audience. Continue with these questions:

Do you feel as if you’re right there at the ball field, seeing and hearing what’s happening?

Which groups of words showed you w hat the narrator did?

Can you pick one group of words and show me what this baseball player did? Did the author tell you about the narrator’s feelings or did she show you?

Can you give me an example?

Scholastic Teachers,. (2015). Show, Don't Tell: A Whiteboard Writing Lesson | Scholastic.com. Retrieved 4 October 2015, from http://www.scholastic.com/teachers/article/show-dont-tell-whiteboard-writing-lesson

Show the reader everything, tell them nothing.

Ernest Hemingway

In the latest installment of "Note to Self," famed portrait artist Chuck Close writes a letter to himself at age 14, offering himself advice on how to overco...

This video shown in class not only seemed like a great example of a personal digital narrative for Chuck Close, it also fits well with a text set I created for another class listed below:

The Junkyard Wonders- Patricia Polacco

Dear, Mr. Falkner- Patricia Polacco

Helen’s Big world: The Life of Helen Keller

The set represents people who are living with disabilities. It might be a good time in class to discuss overcoming or moving around personal limitations.

Designing a lesson for each type of learner in your classroom can be a challenge. See how the Universal Design for Learning, or UDL, can help you meet the needs of each student.

This is a link for educators offering some direction on writing a lesson plan using UDL

There is no such thing as an “average” student.

UDL exists to help students for whom teaching toward to “middle” of the class has failed--this includes both ends of the spectrum- both the gifted and the struggling.

UDL is based on cognitive neurosciences---the purpose to make sure that all students are served in class.

Concrete Poem

Concrete poetry—sometimes also called ‘shape poetry’—is poetry whose visual appearance matches the topic of the poem. The words form shapes which illustrate the poem’s subject as a picture, as well as through their literal meaning.

How to write a concrete poem:

Choose an object to be the subject for your poem. Good suggestions for beginners could be favorite animals or favorite foods.

Draw a simple outline of its shape on paper or on the computer. If you’re using paper, draw with a pencil not a pen.

Write your poem normally. Try to describe how the subject makes you feel. The words will be fitted into your drawing, so don’t make it too long – between 6-12 lines is probably a good length!

Lightly in pencil, or on the computer, write your poem into the shape. It’s ok if it doesn’t fit properly yet, because this is where you find out if you need to make the writing larger or smaller.

Decide if you need to make your writing bigger or smaller in certain parts of the drawing, then erase your first draft and write out the poem again. You can keep doing this until you are happy.

Finally, erase the outline of your shape, so that it is just the words from your poem left creating the image! If you were writing in pencil, you can now go over the words in pen!

http://www.poetry4kids.com/blog/news/how-to-write-a-concrete-poem/

Children who are not artistically challenged may enjoy this site. It allows you to take words, speeches, poems, stories, or essays and creates shapes with them.--Great way to integrate technology.

http://www.tagxedo.com/app.html

There is a tree at my placement school. Its branches are filled with pinkish-red berries. They look like cherries covered in spikes. We have to shoo the children away because they climb the tree to eat the berries if we aren't looking. The teachers are afraid that the berries are poision. None of the adults--are are all from the United States have ever seen such a fruit before. Despite our effors, the children continue to snack in the tree. One day, stepped to the bottom of the tree and called to the children, "have you ever eaten these?" They excitedly tell me yes. I asked them what it tastes like. One child shrugged his shoulders and told me "Apricot." Before I could say another word, he scurried up the tree. He put his weight on a lower branch, while the small boy with him ran to the lowered branch and gabbed a handful of spiky cherries. Before I could say another word, he thrust a handful into my palms. They watched me expectantly. I nibbled one. Then at the whole thing. It tasted sweet. Like apricot, but the texture was gritty. It was like sweet gravel on my tounge. "Apricot." I said nodding as I walked away.

(see above)

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