Documente Academic
Documente Profesional
Documente Cultură
______________________________
In Partial Fulfillment
Of the Course Requirements for Education 5
Bachelor of Secondary Education
________________________________________________
By:
BSE 2 – 1AE
2009
LIST OF BSE 2 – 1 AE
-Ö-
Aroy, Christopher -Ö-
Balgua, Cherry Lou Felizardo, Ruby
Bendicio, Maverly Ann Fernandez, Maureen Claire
Biron, Charmaine Guevara, Jonathan
Brinquis, Lilian Longga, April Vanessa
Longga, Jerico
-Ö-
Caballero, Josephine May -Ö-
Camposano, Joy Luaña, Lenie
Castor, Rose Fay Maaño, Ma. Cherielyn
Cera, Jonnalyn Mandalones, Jason
Climaco, Geneva Marty, Carina
Mendoza, Ronniek
-Ö-
Cornico, Ma. Catherine -Ö-
Cruz, Jerome Paz, Roman
Dalanon, Katherine Rose Ricablanca, Trina Rose
Del Rosario, Noree Sarmiento, Roselle
Dela Rosa, Rhea Tapel, Edness
Tomesa, Maylen
-Ö-
Doinog, Jhoan -Ö-
Doringo, Carlito Tuyo, Marianne
Esmer, Janice Villota, Ercheney
Esteban, Guillermo Yanza, Catherine Anne
Evaristo, Daisy
2
TABLE OF CONTENTS
Title Page 1
List of BSE 2 – 1AE 2
Lists Page
Quadrant One
1. What is Reading? 5
2. Academic Reading: Skimming, Scanning, Browsing 11
3. More on Academic Reading: Note – taking, Organizing, Outlining 14
4. Aid to Comprehension: Graphic Organizer, Direct Reading, SQ4R 16
5. Use of Reference Material: Dictionary, Encyclopedia, Atlas, 23
Thesaurus, etc.
6. Expository Structure: Element, Linguistic Signal, Course Pattern, 26
Lexicon
7. Narrative Structure: Element, Story Grammar 30
Quadrant Two
1. Efferent Reading: Reading to Learn 33
2. Types of Informational Material and their Sources 37
3. Aesthetic Reading: Reading for Appreciation and Enjoyment 41
4. Reading Traditional Tale and knowing their Patterns and Variants 43
5. Reading to Modern Story: Element (Plot, Conflict, Turing Point, 46
Climax, Setting, Characters, Theme)
6. Reading a Book/Movie tie – in: Themes, Subplots, Characters 50
7. Poetry as Shape: Imagery, Voice, and Experience 54
8. Reading a Play (Simple Interpretation, Creative Classroom 72
Dramatics)
9. Reading a Persuasive Materials (Essay, Editorial, Column, 77
Advertisements)
10. Reading to Writing (Pattern Writing, Book Report, Journalist) 81
3
Lists Page
Quadrant Three
1. Reading as a Neuro – physiological Process (eye, ear, brain, 83
Dominance, etc)
2. Reading as a Language Process (Halliday, Fries) 88
3. Reading as a Cognitive Process (Piaget) 90
4. Reading as a Skill/s (Gray/Gates) 93
5. Reading as a Psycho – social Process (Erikson, Vygotsky) 97
6. Reading as a Developmental Process (Chall) 102
Quadrant Four
1. Intrinsic Factors for Reading Achievement (Motivation, Intelligence, 115
Learning Styles, Self – Concepts, Interest)
2. Extrinsic Factors for Reading Achievement (The Material and the 119
Teacher as X – Factor)
3. Self – fulfilling Prophecy 123
4. The Pygmalion Effect 125
4
WHAT IS READING?
Reported by:
Marty, Carina
Aroy, Christopher
Submitted to:
Educ.5 Instructor
5
WHAT IS READING?
Reading is being defined as:
• An attempt to make meaning from what an author has written. It is finding out
what someone is saying to the reader. It is a thinking activity which is
predominantly getting and making meaning.
• Is what the mind does with what the eyes see imprint, mind translate print into
meaning.
• Is a kind of mental listening, a process by which the author talk silently to the
reader.
• Is a thinking activity. It is getting and making meaning.
• Is an information-processing activity. It is purposive, wherein the reader tries to
match his purpose with that of the author. He reconstructs what the author
intends to convey.
• Is a multi-dimensional process.
The reader’s chief difficulty is reading for meaning. He primarily reads for the
meaning, not for the process. The process of achieving the meaning is discourse,
wherein the reader and the writer take turns to contribute to interaction because
meaning is a function of interaction between the reader and the writer trough
language.
1. Reading is a BOTTOM-UP process. The essential element is the written text. The
staring points are letters, words and sentences. Some strategies: phonetic and
structural analysis.
2. Reading is TOP-DOWN process. The focus of attention is the reader. The starting
point is the reader’s schema.(prior knowledge and experience)
6
3. Reading is both bottoms-up and top-down process. Reading is interactive
process.
READER C TEXT
O
Reader’s Schema M Author’s Schema
P
Knowledge and Beliefs R
• About the word H • Content information
• About the language E • Language
• About the structure N • Text structure
T
I
O
N
READING-WRITING CONNECTION
In writing, the reader is absent and is unknown. So, the writer tries to enact the
roles of A and B, anticipates Reader’s reaction and provides possible misunderstanding
of knowledge attained. He shifts continuously from initiating to receiving message.
“Reading and Writing are view holistic process enables by underlying skills.
They serve certain function our lives.”
7
-Carina Marty-
CODE
WRITER READER
As one reads, he carries with him his language skills of listening and speaking.
8
2. Reading is a thinking process - comprehension is affected by the schema or
background information of the reader. Failure in reading is the result of the reader’s
inability to link the material to his schema.
OLD
(One – way process)
NEW
(Two – way process)
• In an OLD WAY PROCESS, there is only a single way of learning, the text are
just being read without further comprehension. And the arrows show that there is
no intellectual conversation happens between the reader and the text.
• In a NEW WAY PROCESS, the reader is active, there is an intellectual
conversation happening between the reader and the text. The knowledge from
the texts is absorbed and it brings out his / her own schema and language skills.
• In CRICTICAL READING the focus is from the story to the writer himself. The
writer expresses ideas creatively and inputs own perceptions, so the reader
perceives the non – print, the unsaid and varied points of view, compares and
controls ideas, values, principles, philosophy and theories.
9
READING APPROACHES
PRODUCT APPROACH PROCESS APPROACH
• Target is learning; learning to read • Target is thinking; reading to learn
• Receptivity (passivity) • Productivity (activity)
• WHAT • HOW and WHY
• Linear, Sequential learning • Parallel, Simultaneous learning
• Skills – based Practice and text – • Literature – based and Reader – based
based Interaction, Reciprocal
The Schema Theory and Reader Response Theory resulted in the broad
conceptualization of literacy and paved the way to literature – based reading
program, a strong component of which is the reading – writing connection. Reading
is enormously important in writing.
Keith Johnson
“A functional approach to writing is through reading comprehension. Good
writers produce reader – based materials (dialogues) rather than writer – based ones
(monologues).
-Christopher Aroy-
10
ACADEMIC READING
(Skimming, Scanning, and Browsing)
Reported by:
Esteban, Guillermo
Submitted to:
Educ.5 Instructor
11
ACADEMIC READING
SKIMMING
Skimming is the reading technique used to prepare for reading the entire
selection thoroughly. Sometimes called previewing, skimming is not a substitute for
thorough reading, just as watching a movie preview is no substitute for experiencing the
entire film.
o While Skimming, you try to detect in advance important keys to the authors
meaning like sub-headings, topic sentences, words in bold or italics and
summaries.
o Skimming is used to quickly identify the main ideas of a text.
o Skimming is done at a speed three to four times faster than normal reading.
o People often skim when they have lots of material to read in a limited amount of
time.
SCANNING
Scanning is the reading technique you use when you look for specific information
from materials you do not intend to read from start to finish. Scanning is also useful in
looking significant factual data – names, dates, quotes, definitions, formulas.
o Scanning is technique you often use when looking up a word in the telephone
book or dictionary.
o You search for key words or ideas.
o Scanning involves moving your eyes quickly down the page seeking specific
words and phrases.
Steps in Scanning:
1. Before you start, think about the data you want to find.
2. Think about the data you are seeking are likely to look.
3. Allow your eyes to drift over the text without actually reading it.
12
4. Do not forget to check graphic materials – pictures, illustrations, maps or graphs – and
their captions for the data.
5. If you fail to find what you want after an initial scan, go back and examine the table of
contents, indices, chapter, headings, and subheadings, topic sentences and highlighted
words to narrow the search for your next scan.
BROWSING
Browsing is the sort of reading where readers do not have any particular goals
for reading and parts of a text maybe skipped fairly randomly and there is little need to
integrate the information.
o Skimming involves looking rapidly over a text for the gist or essence of it.
o Scanning involves looking rapidly for key words, searching for a specific answer.
o Browsing, at its worst, can be hopping between pages and sites aimlessly, driven
by a lack of concentration.
13
-Guillermo Esteban-
Reported by:
Brinquis, Lilian
Submitted to:
Educ.5 Instructor
14
MORE ON ACADEMIC READING
Note taking
It is the ability to write down important facts quickly and accurately.
Here are some suggestions about the mechanics of note taking:
Outlining
• It is a compilation of definitions, rules, and other important information
that functions as your private roadmap for the class.
• A good outline is unique to you and reflective of how you study
• It is a helpful strategy for understanding the content and structure of a
reading selection.
• The key to outlining is being able to distinguish between the main ideas
and the supporting ideas and examples.
• When you make an outline, don’t use the texts exact words
15
-Lilian Brinquis-
AIDS TO COMPREHENSION
(Graphic Organizer, Direct Reading, SQ4R)
Reported by:
Tomesa, Maylen
Submitted to:
Educ.5 Instructor
16
AIDS TO COMPREHENSION
These are strategies that are very useful in incorporating comprehension to
students these are only tools and not source of learning.
GRAPHIC ORGANIZERS
An instructional tool used to illustrate a student or class prior knowledge about a
topic or section of text.
1. Visual pictures of knowledge
2. Tools
>powerful teaching and learning
>facilitate group work
>accommodate individual learning style.
1. Tools
>motivation
>assessment
>assimilation
>reflection
2. Material
>books
>videos
>class discussions
3. Strategy
>generate interest
>activate background knowledge
17
Kinds of Graphic Organizers
Pyramid
….
….
….
18
3. Comparing Contrasting Organizers
Example:
Venn diagram
4. Sequence Organizer
Allow us to see the step by step process of a thing. See how things or event
happened.
Example: Flow Chart
5. Relational Organizer
Example: Semantic Web
19
6. Evaluation Chart Organizer
90
80
70
60
50 East
40 West
30 North
20
10
0
1st Qtr 2ndQtr 3rdQtr 4thQtr
Direct Reading
SQ3R METHOD
20
• Summary
When you • Look for answers to the questions you first raised;
begin to • Answer questions at the beginning or end of chapters or study
Read: guides
• Reread captions under pictures, graphs, etc.
• Note all the underlined, italicized, bold printed words or phrases
• Study graphic aids
• Reduce your speed for difficult passages
• Stop and reread parts which are not clear
Recite • Orally ask yourself questions about what you have just read
after you've or summarize, in your own words, what you read
read a • Take notes from the text but write the information in your own
section: words
• Underline or highlight important points you've just read
• Use the method of recitation which best suits your particular
learning style but remember, the more senses you use the
more likely you are to remember what you read - i.e.,
21
QUADRUPLE STRENGTH LEARNING: Seeing, saying,
hearing, and writing!!!
Day Two
• Alternate between your flash cards and notes and test yourself
(orally or in writing) on the questions you formulated.
• Make additional flash cards if necessary.
22
-Maylen Tomesa-
USE OF REFERENCE
MATERIALS
(Dictionary, Encyclopedia, Atlas, Thesaurus, etc)
Reported by:
Submitted to:
Educ.5 Instructor
23
USE OF DIFFERENT REFERENCE MATERIALS
24
An almanac (also spelled almanack and almanach) is an annual publication
containing tabular information in a particular field or fields often arranged according to
the calendar. Astronomical data and various statistics are also found in almanacs, such
as the times of the rising and setting of the sun and moon, eclipses, hours of full tide,
stated festivals of churches, terms of courts, lists of all types, timelines, and more.
A newspaper is a written publication containing news, information and
advertising, usually printed on low-cost paper called newsprint. General-interest
newspapers often feature articles on political events, crime, business, art/entertainment,
society and sports. Most traditional papers also feature an editorial page containing
columns which express the personal opinions of writers. Supplementary sections may
contain advertising, comics, coupons, and other printed media. Newspapers are most
often published on a daily or weekly basis, and they usually focus on one particular
geographic area where most of their readers live. Despite recent setbacks in circulation
and profits, newspapers are still the most iconic outlet for news and other types of
written journalism.
A journal (through French from late Latin diurnalis, daily) has several related
meanings:
25
-Maverly Ann Bendicio-
EXPOSITORY STRUCTURE
(Element, Linguistic Signal, Course Pattern,
Lexicon)
Reported by:
Biron, Charmaine
Submitted to:
Educ.5 Instructor
26
EXPOSITORY STRUCTURE
Expository paragraph frames provide a structure for retelling information
presented in expository text. They are based on the principle that information in
exposition is structured in a way that is logical and serves to makes the information clear
to the reader. In effect, the organizational structure-- the composition-- of the text
provides the structure for its comprehension. If this is to be true, however, the student
needs to be familiar with the various structures that authors employ and to have practice
in utilizing those same structures in comprehension. There are five basic ways in which
authors may choose to organize information in expository text:
27
different from the Athenian women.
Order/Sequence Texts that follow this structure tell the order Next, first, last, second,
Structure in which steps in a process or series of another, then, additionally
events occur.
Using a procedure such as paired reading, students are first asked to read and
retell the selection they are studying. Meanwhile, the teacher will have created a
paragraph frame for the text that students can work together to complete. The frame is
made of a series of incomplete sentences (or sentence starters) that the students can
complete by using information from the text. The resulting paragraph should summarize
(and simplify, where possible) the original passage.
The cell is the fundamental structural unit of all living organisms. Some cells are
complete organisms, such as the unicellular bacteria and protozoa; others, such as
nerve, liver, and muscle cells, are specialized components of multicellular organisms.
Cells range in size from the smallest bacteria like mycoplasmas, which are 0.1 micron in
diameter, to the egg yolks of ostriches, which are about 8 cm (about 3 in) in diameter.
Although they may differ widely in appearance and function, all cells have a surrounding
membrane and an internal, water-rich substance called the cytoplasm, the composition
of which differs significantly from the external environment of the cell. Within the cell is
genetic material, deoxyribonucleic acid (DNA), containing coded instructions for the
behavior and reproduction of the cell and also the chemical machinery for the translation
of these instructions into the manufacture of proteins.
28
For this expository paragraph, the teacher would construct a descriptive frame
like the following:
__________________________, ______________________________,
And _____________________________________________________.
29
-Charmaine Biron-
NARRATIVE STRUCTURE
(Element, Story Grammar)
Reported by:
Submitted to:
Educ.5 Instructor
30
NARRATIVE STRUCTURE
Narrative
- (Story) is a construct created in a suitable format (written,
spoken, poetry, prose, images and song that describes a sequence of
fictional or non-fictional events.
- It may be spoken, written or imagined, and it will have one or
more points of view representing some or all of the participants or
observers.
ELEMENTS OF A NARRATIVE
One of the starting points for interpreting and writing about imaginative
works is to analyze the elements of narration. Here are some questions that may
lead you to consider how the various elements are working in a particular text.
2. Characters--
Are there characters that come into conflict with each other? Or is
the plot driven by internal motivation and/or outward circumstances? What
dilemma does the protagonist deal with? What obstacles do the
characters overcome? Is there resolution in the end?
31
influence character? What cultural, religious, and political conditions are
assumed?
5. Conflict –
What are the problems that arrived in the story? What are the
actions that caused the characters to have a disagreement? What
are the main causes of the conflict?
6. Resolution –
7. Climax --
Story Grammar
32
EFFERENT READING
Reading to Learn
Reported by:
Submitted to:
Educ.5 Instructor
33
EFFERENT READING: READING TO LEARN
Before reading, good readers make predictions about what they are going to
read. Students should be encouraged to look at the front cover of trade books and
picture books. Subheadings, illustrations and captions, and graphics and charts in
informational text. Students should make logical predictions based on what they have
seen. Asking students, "Based on the information you have seen, what do you think you
will learn?" Ask students for their rationale.
During reading, good readers gather evidence about their predictions; revising,
abandoning, or creating new predictions based on what they are reading. Students
should be asking themselves, "Does the text support this prediction?" If evidence to
support their prediction is not in the text, should the prediction be revised or abandoned?
Steps in Reading
1. Have your eyes checked. Many people who read particularly slowly do so because
they have an undiagnosed vision problem. Even if you think you have perfect vision,
if you haven't had an eye exam recently, there's no time like the present.
2. Time your current reading speed. It is important to find out how fast you read now
so that you can track your improvement through subsequent timings. Not only will
timing help you to tell if you're improving, but it will also keep you motivated.
o You can break out a book and a stopwatch and either time how long it takes you to
read a certain number of words on a page or find out how many words you read in
a given amount of time.
34
3. Get rid of distractions. Even if you think you read better when you have music
playing or when you're in a crowded coffee house, you can probably increase your
speed if you reduce distractions to a bare minimum. Try to find a solitary place to
read, and turn off the TV, radio and cell phone. Even being in a room of people talking
is distracting. If no solitary place is available, try using earplugs to block out any
distractions around you. In order to maximize comprehension while reading quickly,
you will need to focus on the material at hand as closely as possible.
4. Adjust reading speed depending on the material. Often, we must trade off
comprehension for speed, so an important part of increasing reading speed is
deciding how thoroughly you need to comprehend a particular piece of writing.
So before you even start reading, decide how fast you intend to go. If you're
reading a newspaper article, chances are you just want to get the main ideas, and you
can skim through the passages quite rapidly. If, however, you're reading a mathematics
textbook or a demanding philosophical treatise - and you need to fully understand the
material - you do not want to rush.
5. Learn to separate the wheat from the chaff with pre-reading. No matter what you
are reading, there is frequently a lot of "filler" that you can read quickly through or
even skim over. With practice, you will be able to identify the most important parts of
a book as you skim through it. When you get to such a passage, slow down. Before
you begin a chapter or book, look over the entire piece very quickly. Try to find
patterns of repeated words, key ideas, bold print and other indicators of important
concepts. Then, when you actually do your reading you may be able to skim over
large portions of the text, slowing only when you come to something you know is
important.
6. Train yourself not to reread. Most people frequently stop and skip back to words or
sentences they just read to try to make sure they understood the meaning. This is
usually unnecessary, but it can easily become a habit, and many times you will not
even notice you're doing it. One exercise to help you avoid rereading is to take a
sheet of paper or index card and drag it down the page as you read, covering each
line once you've read it. Try to drag the card in a steady motion; start slowly, and
increase your speed as you feel more comfortable.
35
7. Stop reading to yourself. As you read you probably subvocalise, or pronounce the
words to yourself. Almost everybody does it, although to different degrees: some
people actually move their lips or say the words under their breath, while others
simply say each word in their heads. Regardless of how you subvocalise, it slows you
down. (You are concerned with speed reading here, not reading to practice
communicating the material verbally, which can be done later if you find it necessary.)
To break the habit, try to be conscious of it. When you notice yourself pronouncing
words to yourself, try to stop doing it. It may help to focus on key words and skip over
others, or you may want to try humming to yourself in order to prevent subvocalising.
One exercise to stop your lips from moving is to put a finger on your mouth and keep
it there while you read.
9. Practice and push yourself. While you may see some gains in speed the moment
you start using these tips, speed reading is a skill that requires a lot of practice.
Always push yourself to your comfort level and beyond - if you end up having to
reread a section, it's not a big deal. Keep practicing regularly.
10. Time yourself regularly. After a week or so of practice, time yourself as in step two.
Do this regularly thereafter, and keep track of your improvement. Don't forget to pat
yourself on the back every time your reading speed increases.
36
TYPES OF INFORMATIONAL
MATERIALS
Materials and Their Sources
Reported by:
Tapel, Edness
Submitted to:
Educ.5 Instructor
37
TYPES OF INFORMATIONAL MATERIALS AND THEIR
SOURCES
Book
A set of written, printed, illustrated or blank sheets made of paper, parchment or
other material, usually fastened together to hinge at one side. A single sheet within a
book is called a leaf, and each side is called a page.
Dictionary
It is a book of alphabetically listed words in a specific language, with definitions
Etymologies, pronunciation, and other information.
2 Types of Dictionary
• Abridged – a type of dictionary that gives only one meaning of a word.
• Unabridged – a type of dictionary that gives one or more meaning of a word.
Encyclopedia
It is a comprehensive written compendium that contains information on either all
branch of knowledge or a particular branch of knowledge. Encyclopedias are divided into
articles with one article to each subject covered. The term encyclopedia comes from the
Greek words enkyklios paideia, meaning “comprehensive education” and originally
38
signifying instruction in all branches of knowledge, or a comprehensive education in a
specific subject.
Feature of a newspaper
• Weather news and forecasts
• An advice column
• Critic reviews of movies, plays, restaurant, etc.
• Editorial opinions
• A gossip column
• Comic strips and other entertainment, such as crosswords
• A sport column or section
• A humor column or section
• A food column
• Classified ads are commonly seen in local or small newspaper
39
features, with a page size that is usually smaller than that of a newspaper
but larger than that of a book.
Primary sources – information and data are directly given by the respondents.
e.g. interviews, and survey.
Secondary sources – in the information and data where already published
e.g. books, research work, and thesis.
-Edness Tapel-
40
AESTHETIC READING
Reading for Appreciation and Enjoyment
Reported by:
Cera, Jonnalyn
Submitted to:
Educ.5 Instructor
41
AESTHETIC READING: READING FOR APPRECIATION
AND ENJOYMENT
Aesthetic reading
Aesthetic Stance
Recreational reading
Fulfills an important function in lives
Reading for pleasure or aesthetic reading, been described as “the most hidden
literary practice
Aesthetic reading been viewed as “symbolic withdrawal”
One that is designed to head the learner to understand and enjoy something.
42
-Jonnalyn Cera-
Reported by:
Tuyo, Marianne
Camposano, Joy
Submitted to:
Educ.5 Instructor
43
TRADITIONAL READING
Traditional Reading
It is the way of preparing to learn and recognize the 26 letters of the Roman
alphabet and say their names in sequence.
• Memorizing individual spelled words under tutelage of spelling authority until the
learner has a reading lexicon large enough to be able to use a dictionary must
develop this reading.
• Teacher is an essential part of the learning process only Teacher known the
correct response to each written word in the lesson.
The students are engaged with 2 rules: Rule 1- Recall from memory the word
presented by the next printed sequence of letters and pronounce it; Rule 2 - guess a
word that fits the story or picture; on the page.
If the teacher says the student is wrong, try to memorize the word that Teacher
says it right. In this manner, children build up lexicons of word-pictures (spellings)
associated with word-sounds…Children with goo 1 visual image recall often recognize a
word after 1 or 2 positive reinforcements; the less fortunate may require 3,4, or even
more encounters to remember a written word well enough to recall it reliably when
encountering it again.
For many children the initial stages of acquiring and learning “sight words” are a
laborious, discouraging task. Until a child develops a reliable list of many hundreds of
word, it faces the unpleasant prospect of encountering one or more indecipherable
words in every sentence. Only after a child acquires hundreds of common sight words
can teacher suggest other techniques (such as phonics, word group associations, or
dictionary use) to change rule 2 into more than a chancy guessing games.
-Marianne Tuyo-
44
COMPARISON OF TRADITIONAL AND GUIDED READING
GROUPS
Traditional Reading Group Guided Reading Group
Groups remain stable in composition. Groups are dynamic, flexible, and change on
a regular basis.
Students progress through a specific Stories are chosen at appropriate level for
sequence of stories and skills. each group; there is no prescribed sequence.
Introductions focus on new vocabulary. Introductions focus on meaning with some
attention to new and interesting vocabulary.
Skills practice follows reading. Skills practice is embedded in shared
reading.
Focus is on the lesson, not the student. Focus is on the student, not the lesson.
Teacher follows prepared “script” from the Teacher and students actively interact with
teacher’s guide. text.
Questions are generally limited to factual Questions develop higher order thinking skills
recall. and strategic reading.
Teacher is interpreter and checker of Teacher and students interact with text to
meaning. construct meaning.
Students take turn reading orally. Students read entire text silently or with the
partner.
Students take turn reading orally. Focus is on understanding meaning.
Students respond to story in workbooks or Students respond to story through personal
on prepared worksheets. and authentic activities.
Readers are dependent on teacher Students read independently and confidently.
direction and support.
Students are tested on skills and literal Assessment is ongoing and embedded
recall at the end of each story/unit. instruction.
-Joy Camposano-
45
READING TO MODERN STORY
(Element: Plots, Conflict, Turning Point, Climax,
Setting, Characters, Theme)
Reported by:
Mendoza, Ronniek
Submitted to:
Educ.5 Instructor
46
2. Parable Stories – these are stories designed to offer a serious comment
interpretation or sometimes criticism of human situations.
47
b. Rising Action – this is where the events in the story become complicated
and the conflict in the story is revealed.
c. Climax – the crisis or turning point of the story, the points of greatest
interest in the story.
d. Falling Action – the events and complications begin to resolve
themselves.
e. Denouement – this is the final outcome of events in the story.
4. Conflict – it is the opposition of forces that ties one incident to another and
makes the plot move. It is not merely limited to open arguments rather it is any
form of opposition that faces the main character.
Two Types of Conflict
a. Internal Conflict – is a struggle within a character.
b. External Conflict – is a struggle between characters or between a
character and an outside force.
Four Kinds of Conflict
c. Man vs. Man (physical) – the leading character struggles with his physical
strength against other men, forces of nature or animals.
d. Man vs. Circumstances (classical) – the leading character struggles
against fate or the circumstances of life facing him or her.
e. Man vs. Society (social) – the leading character struggles against ideas,
practices or costumes of other people.
f. Man vs. Himself or Herself (psychological) – the leading character
struggles with himself or herself, with his or her own soul, ideas of right or
wrong, physical limitations, choices and etc.
5. Theme – refers to the general truth or particular view of the life which the story
intended.
6. Narration or Point of View – a writer tells his story from a different point of view.
48
b. Omniscient (impersonal) – when a story is from the viewpoint of someone
who can be in several places at the same time and can see into the
hearts and minds of the characters.
c. Limited Omniscient (third person) – here the author limits what he tells the
reader to what a single character could observe or know.
-Ronniek Mendoza-
-Catherine Anne Yanza-
49
READING A BOOK
And Movie Tie – In: Themes, Subplots, and
Characters
Reported by:
Submitted to:
Educ.5 Instructor
READING A BOOK
(Movie Tie-in, Themes, Subplots, Characters)
There are two different ways on how to read. The first one is to read like a
reader and the second is to read like a writer.
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When we read as a reader, we do the normal reading in which we try to figure
out what a passage means by comprehending the words used.
The second way of reading is to read like a writer in which you can read from
a writer’s viewpoint. You pay much more attention to how the reader delivers the
passage rather than what he delivers.
In writing a book review, the plot is the most important part. There are three
important things to consider in order knowing how long the plot Summary should be:
1. Hit the highlight and include only the most important aspects in the
summary.
2. Support your important points.
3. Don’t spoil it. Don’t read the book for others.
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In analyzing the characters, the five human attributes are five things must
be considered:
1. Physical – the physical appearance of the character/s.
2. Intellectual – the things the character/s knows and the things he/she
will learn in the story.
3. Emotional – the feelings of the character/s most of the time and when
faced to different situations.
4. Social – the social standing of the character/s.
5. Philosophical – the beliefs and outlook of the character/s towards life.
Still, we should be reminded that the characters are used to portray real
people. What is important in analyzing the characters is that we learn from them and
what we have learned; we can apply to real life situations.
The themes are usually defined, as a topic of discourse but the meaning is
still vague. To help us understand it more, let us take a look and consider these seven
things:
1. Events represent ideas in which the writer chooses specific events to
give specific meaning.
2. Experience evolves in patterns the experiences of the characters are
often patterned from real life experiences of real people.
3. Fictions explore important issues. Fictions are created not only for fun
but to tackle issues in a different and unique manner.
4. Stories apply to many readers. Best stories are those that speak to
the readers and appeals to the readers in a powerful way.
5. Themes are abstract nouns. Examples of it can be seen but not the
theme itself.
6. Everyone takes a position. Everyone can give opinions and the right
to stand up to it. You cannot force anyone to believe you.
7. Fiction is instructional. Fiction seems to entertain but it is really used
to teach us valuable lessons of life.
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-Noree Del Rosario-
53
POETRY AS SHAPE
Imagery, Voice, and Experience
Reported by:
Longga, Jerico
Submitted to:
Educ.5 Instructor
54
discuss how poetry is defined and analyzed. What are the things that make the poem a
poetry, what are the parts, how poem from one on other and considering a lot topic
under poetry.
What is Poetry?
• To express emotion or feeling (love, anger, doubt, fright, revenge, hate, etc.).
• To tell a story (Tragedy, drama, comedy, etc.).
• To influence belief and principles about life (political, philosophical, social etc.).
Poetry as Shape
(Studying the form)
In studying the form we need to consider the whole structure of the poem.
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• It is the type or the category of the poem.
• Also in determining the category of a poem the reader will be aware of the
pattern used.
Sounds and Rhythm will determine the meter, the Rhyme Scheme and the
pattern in/of the poem, will identify if there is alliteration. Sounds and Rhythm affect the
Poem.
How the ideas are ordered. Ideas are marked by stanzas, by rhyme, or by
shifting the subjects or in shift in perspectives. How do these parts relates to each other,
how are they appropriate for the poem.
See if there is any progression, like a story having simple events up to the
climax, or it tells a past event up to the present, from one place to another.
Poetry as Experience
(Understanding the Content)
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After studying the structure of the poem, understanding the poem comes next.
What the ideas is talking about, or what ideas that the poem foretells. We should
considered the following
Title
Titles serves first impression, what the title say’s. It will give you ideas that the
poem will do. After reading the poem, you will want to comeback to the title in order to
consider further its relationship with the poem.
Subject
Subject are the central focus of the poem, it is the main idea which the character
can be, or an object or an event.
Situation
Inside, a poem includes questions like what is going on/ in it, who is talking, what
it is saying, to whom, what circumstances under, where, about what, why. Sometimes
situations are tangible or intangible.
Symbolisms
Poem is a highly compressed idea, each line may consist different ideas, and
symbols that may represent different ideas in one word, a word can mean a lot of things.
Allusions to figures
These are the allusions to other literary or historical events. We have different
references such as mythology, classics and the bible. How do these add to the poem,
how they are appropriate?
These are important factoring analyzing a poem, there are words, terminologies,
character that is difficult to understand specially if you are not aware of these.
The Author
In understanding the content, the reader should be aware of the author, to
identify what you know about this poet, what year, did the poet write the poem. It
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identifies what time he lived, is he a classicist, existentialist, etc. which also affect the
style of his/her work.
Word Choice
Poet choose words very carefully, in the choice of words the reader can identify
how prolific the Author in using the language, whether he is native or not. In choice of
words the reader will also encounter difficult words, and these suggest finding these
words to the dictionary or any reference book to make the content easily to understand.
Figures of Speech
It identifies the figurative language included. Are there metaphors or similes in
the poem or a sort of personification? Consider the appropriateness of comparisons. Try
to see why the poets choose a particular metaphor as opposed to other possible one.
Poetry as Voice
(Poem Execution)
After studying the structure of the poem, understanding the poem comes next.
What the ideas is talking about, or what ideas that the poem foretells. In particular
readers do not execute the poem that he/she read. Poem execution or reciting of it the
reader should considered the following
Mood/Tone
What mood is evoked in the poem? How is this accomplished? Consider the
ways in which not only the meaning of the words but also their sound and the rhythms
will help to create its mood.
Punctuation Marks
It is very important to recognize punctuation marks because the meaning can
possibly change if there is a wrong pause and stop.
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Punctuation marks also have an important impression in the poem, it may carry n
emotion or it can also shift the idea of the speaker into gestures.
Rhyme Scheme
Scan a line of poetry (that means to hear a rhythm) ,you count the numbers of
feet in a line, the easiest thing to do is to count the number of stresses, but it will work
often enough to give you feeling of the poem.
In verse (traditional, formal poetry) there will be a regular pattern to the rhythm.
Often all the lines in a poem will certain the same number of feet.
Proper Stresses
There are words that should give long stress and some are not and there is
significant word that should be given much stress than other, it is one way to adopt the
author’s feeling in the poem. Avoid monotone. It also implies the effect of the poem to
the listeners.
Poem Appreciation
Reading and Understanding Poetry
Imagery in Poetry
Imagery refers/ applies to the literary words and phrases, affecting the
minds, senses and also the words and phrases used figuratively.
Mental pictures and the language that presents them are called
Imagery. - Monica Mojica
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Senses of Minds
The language of poetry is suggestive. It is vivid the poet is seeking to
evoke the sense of physical experience, to tell a story, or to discuss ideas, attitudes, and
feelings; he will usually use too many words that appeal to the senses. Words actually
affect our physical senses, the several means by which we perceive the world about us
– sight, hearing, touch and alike. Some readers are physically affected by words. All or
us, however have the “Senses of Mind”, which are analogous to our physical senses.
We say we see something in the mind’s eye though of course our actual may be closed.
It is not possible to run over the tune in the mind, making no actual sound at all, nor even
activating the muscles of the throat; yet, we say “we can hear the tune” – hear it, that is,
in the mind. The same is true, though perhaps to a lesser extent, with the sense of smell,
touch and so on. The major senses are Sight (the visual sense); Hearing (the aural
sense); Smell (the olfactory sense); taste (the gustatory sense); Heat, Cold (the thermal
sense); Motion (the kinesthetic sense) and touch (the tactile sense).
The poet uses words that appeal to the Senses of Mind. Or, to use the
customary term, we say that the word creates image to our mind-“a mental
representation of anything not actually present to do the senses”, as the dictionary
defines “Image”. Mental pictures and the language that presents them are called
Imagery. The individual pictures (or the words embodying them) are called Images.
Derived from the word Image as Imagination which means the faculty of the mind to
create meanings of the words also it means that we must be able to recall a sense
experience of an object named and describe, or imaginatively construct an experience or
a related one. Imagery usually recalls, rather than originates, mental impressions, so
that the reader is implicated in the criterion of the poetic image. Sensitivity to imagery
varies from person to person but it is a quality that can be developed.
Thermal
i.e. “St. Agnes’’ Eve- ah, bitter chill it was…”
(“Chill creates a picture of winter, of snow, ice”, that as
cold)
i.e. “…it is the day that makes a summer… ”
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(Summer appeals as Heat)
Visual
i.e. “Thy black cylindrical body, golden brass and silver steel….”
(The world “body” suggests visual, or can be seen)
Aural
i.e. “Hear the ringing, the jingling of the bells …”
(“Ringing” suggest sound)
Kinesthetic
i.e. “the train of cars behind, obedient, merrily following or a mute of
evanesense with a revolving wheel”
(“Revolving” indicate motion)
Tactile
i.e. “I shall go shod in silk”
(‘Silk” is smooth and soft that can touch)
Gustatory
i.e. “…the sweetness of sterile fruit as…. ”
()
Olfactory
i.e. “…of sampaguita scent and fragrance..”
Figures of Speech
The poet uses figure words or phrase which is concrete and sensuous
and which refers to something familiar in our experiences - to stand for a thing, an idea,
feeling, or attitude. Poetry merely suggests – words are associated with feelings and
ideas.
Figures of Speech speak of one thing (often and abstraction) in terms of
something usually something concrete and hence sensory. Between the thing talked
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about and the term used to discuss it there it is always a relationship and observable
association. We sense this likeness instantaneously as we read, as we do in using or
learning a certain form of slang, for instance, an attractive person is a “doll”, an
unattractive one is a “creep”. The comparison stated or implied in figure can be
represented as a kind of equation, if we take the equal sign (=) to mean “resemble”. The
most common used terms to the members of the equation are Tenor and Vehicle. The
Tenor of the metaphor is the subject where the poet basically concerned that Tenor
denotes “gist” or general support as in the phrase “tenor is his remark”. The Vehicle is
the figurative subject, the terms in which the poet is explaining or picturing his basic
subject. We can represent the matter as follows.
Tenor = Vehicle
Often abstract usually concrete
Unfamiliar to the reader Familiar to the reader
Stated or Implied State
i.e.
A treacherous person -----------------“a snake in the grass”
A bad member of the group----------- “a black sheep”
The Tenor may be stated separately. This occurs in all simple similes “like” or “as”
making comparison explicit.
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“Rosebuds” is the vehicle of an implied Tenor which could state
as youth as “the pleasures of youth.”
Kinds of Figures:
Simile
-Is direct comparison of unlike things that having similarities, the resemblance of
two things compared is explicitly pointed by the introductory word “like” or “as”
i.e.
“Rumor spreads like wild fire
As beautiful as the red rose
Brightened like in green field
As grasses that never weed”
Metaphor
-Is an indirect comparison of two unlike things but having the similarities, the
limited sense is calling one thing by the name of another.
i.e.
“The society is unweeded garden”
“Love is a lily that blooms
Over the deep sea of understanding”
Personification
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-It endows thing including abstraction with life and personality. It attributes human
qualities to inanimate objects or thing and animals. Poets use personification with
varying degrees of definitions. Sin and Death guarding the gates of heel are also clearly
personified as to be allegorical figures.
i.e.
“I like to see it lap the miles
And I lick the valleys up
And to stop to feed itself at tanks
And then, prodigious, step”
i.e.
“Moon walks in tiptoe
Thoughts speak over time with crisis”
Metonymy
-A figure of speech that names an attribute or quality or other associated deed of
a thing instead of a thing itself. It is figurative substitution of one term for another closely
associated with it and suggested by it.
i.e.
“… Because of the hard time,
He is on the red
Rolando, legal bar member”
i.e.
“There is no holier spot of ground
That where defeated valor lies
By mourning beauty crowned”
Hyperbole
-A figure of speech that exaggerates; the exaggeration usually employed for
emphasis.
i.e.
“I Chabot Crane dangled his arm a mile
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-A figure of speech that tells a story with more than one meaning, literal and
connotations.
Apostrophe
-A figure of speech that addresses a person, dead or alive, or an inanimate
object or obstruction.
i.e.
“O Liberty, hat crime have I committed in thy name!
Lady Moon what a beautiful thing you are”
Comparison
-A figure of speech that states the similarity between two objects those are generally
alike or belonged to the same class. This figure of speech should not be confused with
the metaphor and simile. For instance, sampaguita and rose are flowers.
i.e.
“Sampaguitas is as fragrant as rose”
Irony
-A figure of speech by which we make our words convey the opposite meaning
from what we say.
i.e.
“ Mark Anthony says Bruthus and his conspirators as a honorable man
After killing Julius Ceasar yet he wished the crowd
to fell that they are traitors.”
Oxymoron
- A figure of speech, which combines words or expressions that have opposite,
contradictory or incongruous meaning.
i.e.
“… Bitter-sweet love affair
Bold as little on victorious-failure…”
Litotes
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- A figure of speech, which is an understatement something useful in
characterization to imply modesty or to soften effect.
i.e.
“A young on a young old
Is not very young as told’ (an old man )
Poetry as Voice
Prevailing Meters
Foot
-a foot is metrical unit in a line or a verse. It is composed of two or more stressed
(accented) or unstressed (unaccented) syllables arranged in one of several orders; it is a
unit or measure composed of two or more accented or unaccented syllables (we usually
speak it as load or in more distinct sound) than on others, for one or two reasons; the
normal pronunciation of a word requires it, or the sense or the sense are stressed
according to the accepted pronunciation; so with the use of symbols we can indicate the
stressed of common words.
x / x / x x / x x / / / X- The
Above, today, overrun, underrate, sidewalk unaccented
syllable
According to the rhetoric principle, the every syllable should pronounce.
/ / x/ x / /
/
When I consider how my light is spent
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Arrange
Name Adjective Example
ment of
form
stress
x / Iamb iambic x /
Alone
/x Trochee trochaic / x
Harbor
Meter
-is the pattern in which rhythm is systematized in verse by which we refer to the
arrangement of unaccented and accented syllables in a line- thus a line may be called
iambic pentameter if there are five feet in a line.
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Sound
-Poetry makes its communication with the mind, but it does so through a medium that is
musical. The language of poetry is rhythmical; it is also composed of remarkably
numerous and varied sounds best heard is read aloud, but heard even by the “minds
ear”. Sometimes these sounds create a music that is beautiful in and of itself- a pleasant
accompaniment to the meaning of the words. In poetry, however, sound not only
accompanies sense but also helps to convey it. Sound is what we hear musically when
poem is read aloud.
Repeated Sounds
The repeated sounds normally suggest rhyme (the matching of sounds of the
ends of words, particularly at the ends of lines) poetry matching sounds of several kinds:
Assonance is the repetition of the same vowel sound within the line of adjoining lines of
poetry; it is the repetition of the internal vowels.
i.e.
“Tiger, lighting bright the biding sight
Oh in mind like signing light overnight
Rhyme is the repetition of final sounds of the words, particularly words appering at the
end of the line.
i.e.
“Now fades the glimmering landscape from the sight
And all the air a solemn stillness holds
Save when the beetles wheel his droning flight
And drowsy tinkling lull the distinct folds”
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Onomatopoeia is use of words whose sound resembles the thing or action denoted by
the word; or the imitation of the sound of words either directly or suggestively.
i.e
“Buzz, toll (of bells)
The snake hissed, the steak sizzles
The coffee perked rained pattered”
A. Lyric is a type of poetry which expresses a personal emotion in a “tuneful” form. There
are forms of lyric poem as follows:
1. Song a short poem, free metered lines, divided in stanzas. It is to be sung, its
sentiments is personal or communal.
3. Elegy is a poem dedicated to a dead, a funeral song, a meditative poem with sorrow
theme. i.e.. “The Elegy written in a Country Churchyard”
4. Sonnet is a poem which has fourteen lines and a conventional scheme of movement,
properly expressing two successive phrases of a single thought. i.e. Shakespeare’s and
Patriarch’s sonnets.
B. Narrative poetry is a type that tells the story of series of elements, or describes
characters and scenes in details and in order as one would tell a story.
1. Epic is a story poem celebrating the in stately, formal verse the achievement of
heroes, and gods. It is a calm and dignified narrative in uniform and majestic verse of a
69
momentous action in which heroes’ characters and supernatural beings take part under
control of the Supreme Destiny. The theme is generally political or spiritual involving the
welfare of a people. i.e. “Odyssey”; “Beowulf” and “Iliad” etc.
2. Metrical Romance is a narrative, generally of a popular kind dealing with the career or
a individual. The subjects is of chivalrous adventures of love or other personal devotion,
sometimes of heroism i.e.. “The Eve of St. Agnes”
3. Tale a short story poem is connected narrative or account where oral or written of an
actual, legendary or fictitious event or series of events. Principal characters may be
genuinely heroic, utterly unconscious of the fact. i.e.. “Canterbury”; “Enoch Arden” etc.
C. Dramatic poetry is a type poetry that presents the story of a conflict in human life, for
instance is the Shakespeare’s Comedies and Tragedies. One kind of this poetry is the
Dramatic Monologue- a form of poetry in which the speaker rehearses situations and
emotions in such a way as suggest that those who are listening to him are taking part in
the conversation. i.e. “My Last Duchess”
Stanza Pattern
Most poems are written in verse and in stanza. A stanza may be one line or more
of verse group so as to compose a pattern that is usually repeated in a poem, it is a
division of a poem. A poem may have one or more stanzas. The kind of stanza’s are at
follows:
Verse - A stanza of one line
Couplet - A stanza of two line
Triplet - A stanza of three line
Quatrain - A stanza of four line
Quintet - A stanza of five line
Sestet - A stanza of six line
Rhyme Royal - A stanza of seven line
Octave - A stanza of eight line
Spencerian - A stanza of nine line
Rhyme Scheme
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The pattern of end- rhyme stanza or the grouping of lines in the stanza the
grouping is made according to the conventional pattering of end- rhyme known as the
Rhyme Scheme. Each new sound at the end of a line in a stanza is designated by a new
letter a, b, c, d etc... Below is the Shakespearean sonnet, a fourteen line stanza
-Jerico Longga-
71
READING A PLAY
(Simple Interpretation, Creative Classroom
Dramatics)
Reported by:
Submitted to:
Educ.5 Instructor
72
READING A PLAY
(Simple Interpretations and Creative Classroom
Dramatics)
1. Conventional Play
2. Chamber Theater
Source: Skill Builders for Effective Reading by Salazar, Villamin and Pecana, p.266
73
Steps in Reading a Play:
1. Read any criticism or introduction included in the publication you are studying
because it will give ideas and approaches in interpreting the play that you may
find helpful later.
2. Find out the genre of the play so you’ll know how the play will most likely to end.
3. Determine how many acts the play has. (Acts: parts of the play like introduction,
problem, resolution, ending)
4. Write a chart of characters and how are they related to each other to avoid
confusion.
5. Consult sources for information on characters and events in historical plays.
6. Read the most difficult passage aloud for more comprehension.
74
-Trina Rose Ricablanca-
CREATIVE CLASSROOM DRAMATICS
“In creative dramatics there are no wrongs the experience of the participants is the
goal”
“Classroom drama is not learning about drama, but learning through drama”
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• According to Betty Lou Nixon, Creative dramatics (dramatic play) can help the
teacher encourage the students to think, express himself, release emotions,
understand feelings, develop confidence and get to know himself.
• Language Learning
The language of drama encompasses modes of expression that human
beings use to communication with one another and encourages students to
become more aware of and sensitive to language.
• Social Learning
According to P. Verrior, these aims in drama acknowledge that students
should always be encouraged to view themselves and their contributions to work
in terms of the needs, interests, and concerns of the other participants. Fostering
positive social attitudes in the classroom so that learning can take place is a
major concern in all teaching.
• Emotional Learning
According to P. Verrior, students bring their own knowledge to drama. This
knowledge along with personal feelings, attitudes, values and beliefs constitutes
a crucial element in any drama. The truth and authenticity with which each
individual in role responds to the dramatic situation is crucial to the success of
the dramatic learning experience for all participants.
• Respect and self-esteem
76
READING PERSUASIVE
MATERIALS
(Essay, Column, Advertisements, Editorial)
Reported by:
Doringo, Carlito
Submitted to:
Educ.5 Instructor
77
READING PERSUASIVE MATERIALS
Persuasive
• Having the power to convince
• an incitement
Persuasive Materials
Persuasive Materials are written materials that attempt to convince the reader
that the point of view of the writer is valid.
1. Editorial of Persuasion - a kind of editorial points out the good or bad features of a
problematic situation mentioned in the news that concerns the pupils.
2. Essay - is a short piece of nonfiction writing in which a writer gives his/her opinion on
one subject. It uses a reasoned argument to persuade the reader to adopt or agree with
the position being proposed in the opening statement.
4. Poems - are literary work written in verse aimed to create, persuade, aesthete, and
express the beauty, emotion, and intensity so that one may be entertained.
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7. Speeches - are very nature persuasive. Our world is full of political speeches.
8. Others -brochures, leaflets, quotes
Examples:
PERSUASIVE ESSAY box, and most cats will use it without fail
THE BEST PET IN THE HOUSE from that time on. Even stray cats usually
“A dog is man’s best friend.” That understand the concept when shown the
common saying may contain some truth, but box and will use it regularly. Cats do have
dogs are not the only animal friend whose claws, and owners must make provision for
companionship people enjoy. For many this. A tall scratching post in a favorite cat
people, a cat is their best friend. Despite area of the house will often keep the cat
what dog lovers may believe, cats make content to leave the furniture alone. As a last
excellent house pets. resort, of course, cats can be clawed.
In the first place, people enjoy the Lastly, one of the most attractive
companionship of cats. Many cats are features of cats as house pets is their ease
affectionate. They will snuggle up and ask to of care. Cats do not have to be walked.
petted, or scratched under the chin. Who They get plenty of exercise in the house as
can resist a purring cat? If they’re not feeling they play, and they do their business in the
affectionate, cats are generally quite playful. litter box. Cleaning a litter box is a quick,
They love to chase balls and feathers, or painless procedure. Cats also take care of
just about anything dangling from a string. their own grooming. Bathing a cat is almost
They especially enjoy playing when their never necessary because under ordinary
owners are participating in the game. circumstances cats clean themselves. Cats
Contrary to popular opinion, cats can be are more particular about personal
trained. Using rewards and punishments, cleanliness than people are. In addition, cats
just like with a dog, a cat can be trained to can be left home alone for a few hours
avoid unwanted behavior or perform tricks. without fear. Unlike some pets, most cats
Cats will even fetch. will not destroy the furnishings when left
alone. They are content to go about their
In the second place, cats are usual activities until their owners return.
civilized members of the household. Unlike
dogs, cats do not bark or make other loud Cats are low maintenance, civilized
noises. Most cats don’t even meow very companions. People who have small living
often. They generally lead a quiet existence. quarters or less time for pet care should
Cats also don’t often have “accidents.” appreciate these characteristics of cats.
Mother cats train their kittens to use the litter However, many people who have plenty of
79
space and time still opt to have a cat rewards and crowns: and we do assure you,
because they love the cat personality. In on the word of a prince, they shall be duly
many ways, cats are the ideal house pet. paid you. In the mean my lieutenant general
shall be in my stead, than whom never
PERSUASIVE SPEECH prince commanded a more noble and worthy
QUEEN ELIZABETH 1: AGAINST THE subject; not doubting by valor in the field, we
SPANISH ARMADA shall shortly have a famous victory over the
My loving people, we have been enemies of my God, of my kingdom, and of
persuaded by some, that are careful of our my people.
safety, to take heed how we commit
ourselves to armed multitudes, for fear of PERSUASIVE POEM
treachery; but I assure you, I do not desire MOTHER TO SON
to live to distrust my faithful and loving Well, son, I’ll tell you:
people. Let tyrants fear; I have always so Life for me ain’t been no crystal stair.
behaved myself that, under God, I have It’s had tacks in it,
placed my chiefest strength and safeguard And splinters,
in the loyal hearts and good will of my And boards torn up,
subjects. And therefore I am come amongst And places with no carpet on the floor –
you at this time, not as for my recreation or Bare.
sport, but being resolved, in the midst and But all the time
heat of the battle, to live or die amongst you I’se been a – climbin’ on
all; to lay down, for my God, and for my And reachin’ landin’s,
kingdom, and for my people, my honor and And turnin’ corners,
my blood, even the dust. I know I have but And sometimes goin’ in the dark
the body of a weak and feeble woman; but I Where there ain’t been no light.
have the heart of a king, and of a kin of So boy, don’t you turn back.
England, too; and think foul scorn that Don’t you set down on the steps
Parma or Spain, or any prince of Europe, ‘Cause you find it’s kinder hard.
should dare to invade the borders of my Don’t you fall now –
realms: to which, rather than any dishonor For I’se still goin’, honey,
should grow by me, I myself will take up I’se still climbin’,
arms; I myself will be your general, judge, And life for me ain’t been no crystal stair.
and rewarder of every one of your virtues in
the field. I know already, by your Langston Hughes
forwardness, that you have deserved
-Carlito Doringo-
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READING TO WRITING
(Pattern Writing, Book Report, Journalist)
Reported by:
Submitted to:
Educ.5 Instructor
81
READING TO WRITING
After reading, students need a reflection on a text that they had read and that is
by writing their responses on that text to extend their thinking. By writing in response to
reading, students became more aware in reading and develop a deeper understanding
of various texts.
The teachers must prepare a variety of Activities for the student’s reflection on a text.
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READING AS A NEURO -
PSYCHOLOGICAL PROCESS
(Eye, Ear, Brain,Dominance, etc)
Reported by:
Luana, Lenie
Mandalones, Jason
Submitted to:
Educ.5 Instructor
83
Why is it reading is a Neuro – physiological process?
You have never been asked this question, but using our common sense and
my background in reading, I would say that reading involves seeing letters, words and
paragraphs, hearing sounds of letters, words and syllables, understanding or
comprehending what one reads (which involves a number of thinking skills).
So the neuro is the nerve that would be the brainwork that is connected to the
physiological act of hearing, seeing and speaking the words.
It is also your eye movement that the eye movement might be related to internal
representations. Let’s sight some example; ask one of your classmates to participate in
class and answer this question, observe his eye movement. “Who were the five people
you saw this morning? His eyes up and left: Non-dominant hemisphere visualization- i.e.
remembered imagery.
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In reading it has only two movements;
2. Ear process - the hearing process begins when sound waves enter the auditory
canal and strike the eardrum, a membrane about one half inch across. When is capable
of handling over 73,000 vibrations per second. When sound hits the eardrum, it causes
movement of the hammer, anvil, and stirrup. The vibrations of sound are magnified by
about twenty times as they pass over the ossicles and enter into the small opening in the
inner ear without this amplication, we would be deaf, since about 99.9% of sound would
be reflected back out the ear. It would be like trying to talk someone who is under water.
This is the ingenious job of these amazing bones in the middle ear. They have been
designed to take sound energy from the ear, amplify it and transfer that energy into fluid-
filled inner ear structures. When this take place, a small electrical signal is made and
sent to a corresponding circuit in the auditory nerve that carries it instantly to the brain.
-Lenie Luana-
85
According to Thérien (1985), there are at least five distinct processes active every time
we read a text:
These five processes can be said to define three tasks: manipulation (the material
dimension of the reading process), comprehension, and interpretation. In other words, to
read a text is to be able to progress through it, which implies both manual and neuro-
physiological aspects. In a post-typographic era, we must consider how each of these
tasks changes and how the interrelations between them change as well. What does it
mean to manipulate an e-book? What new strategies must be developed now that the
basic element of reading, the page, is not present? Can manipulation be transposed
without any problems from one context (book culture) to another (screen culture or e-
book culture)?
The second task, comprehension, implies the semiotic dimension of the reading
process. To read a text is to understand what is written, which implies linguistic, cognitive
and affective aspects. E-books and hypermedia help produce new forms of texts,
requiring new strategies of comprehension.
The third task, interpretation, refers to the symbolic dimension of the reading
process. To read is to establish a relation between the text being read and other texts
that explain, illustrate, complete, or expand what is being read. If interpretation is the
minimal relation established between two texts by a reader, the second text facilitating
understanding of the first, then a networked reading environment would presumably help
bring about interpretation. And yet, this is not the case, as several early studies of
readers working in hypertext environments demonstrated (e.g., Kim & Hirtle, 1995; Foss,
1989; Rouet & Levonen, 1996). The possible problem here is one of over-interpretation:
86
when a reader makes connections that are not based on a complete or complex
knowledge of the text being read, that connection may confound rather than facilitate
interpretation. If the text is not "read"–if it has not been the object of an act of
appropriation–then its interpretation may quite easily be uote non fondé” – that is,
superficial, divergent instead of convergent (Eco, 1992).
A model of reading
One of the first and most significant, computational models is that created by
Rumelhart and McClelland (1981). Theirs is an interactive activation model based on
three levels of processing following from visual input; the feature level (which detects the
individual features of letters), the letter level (which collates input from the feature level
to detect letters), and finally, the word level (which takes the outputs of the letter level to
detect words). As it stands, this is just a hierarchical model
-Jason Mandalones-
87
READING AS A LANGUAGE
PROCESS
(Halliday, Fries)
Reported by:
Submitted to:
Educ.5 Instructor
88
READING AS A LANGUAGE PROCESS
It is the process of decoding symbols for the purpose of deriving meaning and/or
constructing meaning. It is considered as the 3rd of the four language skills: (1) listening,
(2) speaking, (3) reading, and (4) writing.
When we're reading whether it's a text or a passage, it is made up of language.
Michael Halliday identifies seven functions that language has for children in their early
years. Children are motivated to acquire language because it serves certain purposes or
functions for them. The first four functions help the child to satisfy physical, emotional
and social needs. Halliday calls them instrumental, regulatory, interactional, and
personal functions.
• Instrumental: This is when the child uses language to express their needs (e.g.
‘Want juice')
• Regulatory: This is where language is used to tell others what to do (e.g. 'Go
away')
• Interactional: Here language is used to make contact with others and form
relationships (e.g. 'Love you, mummy')
• Personal: This is the use of language to express feelings, opinions and individual
identity (e.g. 'Me good girl')
Michael Halliday and Charles Fries both viewed reading as a language process
wherein as one reads he carries with him his language skills of listening and speaking.
Before a child learns how to read, he first learns to listen to the people around him and
after that follows what they say. Let's take an example: Before a child learns the
alphabet, his teacher first pronounces those letters and the child listen first and repeat
what she said.
89
READING AS A COGNITIVE
PROCESS
(Piaget)
Reported by:
Villota, Ercheney
Submitted to:
Educ.5 Instructor
90
READING AS A COGNITIVE PROCESS
91
Stimulus Receptors Brain Response
Text being Eyes and Decoding and Reaction
read ears interpretation done
Some text can be uttered easily but cannot be understood by the reader because
ther are some cognitive elements that need to be met for you to understand or
comprehend what you are reading. These include:
92
READING AS A SKILL/S
(Gray/Gates)
Reported by:
Felizardo, Ruby
Submitted to:
Educ.5 Instructor
93
Reading skills acquisition is the process of acquiring the basic skills necessary
for learning to read; that is, the ability to acquire meaning from print.
Phonemic Awareness
This is the ability to distinguish and manipulate the individual sounds of
language. The broader term, phonological awareness, also includes rhymes, syllables
onsets and rimes.
Phonics
It is method that stresses the acquisition of letter-sound correspondences and
their use in reading and spelling. This helps beginning readers understand how letters
are linked to sounds (phonemes), patterns of letter-sound correspondences and spelling
in English, and how to apply this knowledge when they read.
Fluency
This is the ability to read orally with speed, accuracy, and vocal expression. The
ability to read fluently is one of several critical factors necessary for reading
comprehension. If a reader is not fluent, it may be difficult to remember what has been
read and to relate the ideas expressed in the text to his or her background knowledge.
This accuracy and automaticity of reading serves as a bridge between decoding and
comprehension.
Vocabulary
94
A critical aspect of reading comprehension is vocabulary development. When a
reader encounters an unfamiliar word in print and decodes it to derive its spoken
pronunciation, the reader understands the word if it is in the reader's spoken vocabulary.
Otherwise, the reader must derive the meaning of the word using another strategy, such
as context.
Skimming
It is used to understand the "gist" or main idea Scanning - used to find a
particular piece of information Extensive reading - used for pleasure and general
understanding Intensive reading - accurate reading for detailed understanding.
Skimming is used to quickly gather the most important information, or 'gist'. Run
your eyes over the text, noting important information. Use skimming to quickly get up to
speed on a current business situation. It's not essential to understand each word when
skimming.
Examples of Skimming:
· The Newspaper (quickly to get the general news of the day)
· Magazines (quickly to discover which articles you would like to read in more detail)
· Business and Travel Brochures (quickly to get informed)
Scanning
It is used to find a particular piece of information. Run your eyes over the text
looking for the specific piece of information you need. Use scanning on schedules,
meeting plans, etc. in order to find the specific details you require. If you see words or
phrases that you don't understand, don't worry when scanning.
Examples of Scanning
· The "What's on TV" section of your newspaper.
· A train / airplane schedule
· A conference guide
Extensive reading
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It is used to obtain a general understanding of a subject and includes reading
longer texts for pleasure, as well as business books. Use extensive reading skills to
improve your general knowledge of business procedures. Do not worry if you understand
each word.
Examples of Extensive Reading
· The latest marketing strategy book
· A novel you read before going to bed
· Magazine articles that interest you
Intensive reading
It is used on shorter texts in order to extract specific information. It includes very
close accurate reading for detail. Use intensive reading skills to grasp the details of a
specific situation. In this case, it is important that you understand each word, number or
fact.
Examples of Intensive Reading
· A bookkeeping report
· An insurance claim
· A contract
-Ruby Felizardo-
96
READING AS A PSYCHO –
SOCIAL PROCESS
(Erikson, Vygotsky)
Reported by:
Doinog,Jhoan
Esmer, Janice
Submitted to:
Educ.5 Instructor
97
According to Erikson, the socialization process consists of eight phases - the
"eight stages of man." His eight stages of man were formulated, not through
experimental work, but through wide - ranging experience in psychotherapy, including
extensive experience with children and adolescents from low - as well as upper - and
middle - social classes. Each stage is regarded by Erikson as a "psychosocial crisis,"
which arises and demands resolution before the next stage can be satisfactorily
negotiated. These stages are conceived in an almost architectural sense: satisfactory
learning and resolution of each crisis is necessary if the child is to manage the next and
subsequent ones satisfactorily, just as the foundation of a house is essential to the first
floor, which in turn must be structurally sound to support and the second story, and so
on.
98
This psychosocial crisis occurs during what he calls the "play age," or the later
preschool years (from about 3½ to, in the United States culture, entry into formal
school). Looking for games and activities to keep the little guy busy? Preschool is all
about developing the skills to get the kid ready for kindergarten. From reading activities
that get a child comfortable with the alphabet, to math activities that get her counting and
sorting, we've got fresh ideas to keep a kid learning on the fly.
99
If the other seven psychosocial crisis have been successfully resolved, the
mature adult develops the peak of adjustment; integrity. He trusts, he is independent
and dares the new.
These eight stages of man, or the psychosocial crises, are plausible and
insightful descriptions of how personality develops but at present they are descriptions
only. We possess at best rudimentary and tentative knowledge of just what sort of
environment will result, for example, in traits of trust versus distrust, or clear personal
identity versus diffusion. Helping the child through the various stages and the positive
learning that should accompany them is a complex and difficult task, as any worried
parent or teacher knows. Search for the best ways of accomplishing this task accounts
for much of the research in the field of child development.
100
VYGOTSKY SOCIO- CULTURAL
THEORY OF DEVELOPMENT
Vygotsky said that if the child can talk to themselves it is called private
speech. Private speech is a form of self talk that guides the child thinking, action and
then when the child know how to do the task vygotsky said that scaffolding can help
the child to learned by giving support or assistance of others. And when the learners
become more proficient, able to complete the task on their own that they could no
initially do without assistance is called scaffold and fade away technique.
-Jhoan Doinog-
-Janice Esmer-
101
READING AS A DEVELOPMENTAL
PROCESS
(Chall)
Reported by:
Submitted to:
Educ.5 Instructor
102
READING AS A DEVELOPMENTAL PROCESS
According to the National Reading Panel, the ability to read requires proficiency n
a number of language domains; phonemic awareness, phonics (sound-symbol
correspondence), fluency, vocabulary, and text comprehension.
Phonemic awareness – The ability to distinguish and manipulate the individual sounds
of language. The broader term, phonological awareness, also includes rhymes,
syllables, and onsets and rimes.
Fluency – The ability to ready orally with speed, accuracy, and vocal expression. The
ability to read fluently is one of several critical factors necessary for reading
comprehension. If a reader is not fluent, it may be difficult to remember what has been
read and to relate the ideas expressed in the text to his or her background knowledge.
This accuracy and automaticity of reading serves as a bridge between decoding and
comprehension.
103
STAGES OF READING DEVELOPMENT
Jeanne Chall, world renowned reading expert psychologist for fifty years, and
past professor emeritus at Harvard University cites her five stages of reading
development below. Each stage builds on skills mastered in earlier stages; lack mastery
at any level can halt the progress beyond that level.
• The learner gains familiarity with the language and its sounds. A person in this
stage becomes aware of sound similarities between words, learns to predict the
next part in a familiar story, and may start to recognize a few familiar written
words. Chall’s Stage 0 is considered comparable to what is often called “reading
readiness.” Typically developing readers achieve this stage about the age of 6.
The pre-reading stage is when the learner grows in their control of language,
both semantics and syntax. The child is increasing their conceptual knowledge and
beginning to develop an understanding of the world around them. The learner relies on
their non-visual information and contextual knowledge to begin reading. During this
emergent stage the child relies heavily on the contextual information provided by the
pictures in the text and by the way the story mimics the spoken language and highly
predictable language. The learner during this stage uses logographic information to
make guesses about words. The learner also begins to develop insights into the nature
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of words and begins to realize that words are made up of sounds, and that some of
these words have the same beginning and ending sounds. This phonetic-cue phase of
reading development helps the child begin to recognize rhyme and alliteration. For the
reader to be successful at this stage of learning they need to have many learner
centered activities that encourage the connection between their non-visual information
and the visual information of the text. A top down approach to teaching reading, which
follows a whole language model of reading, has shown positive gains in reading
performance for the stage 0 readers.
• The learner become aware of the relationship between sounds and letters and
begins applying the knowledge to text. This demonstrates the reader has
achieved understanding of the critical concept of the alphabetic principle and is
learning sound-symbol correspondences, the alphabetical code.
Once the learner is successful in stage 0 and has progresses from the phonetic-
cue phase of reading and is becoming more aware of letter/sound relationships, the
learner has now progresses into the cipher phase of reading and is Stage 1 reader.
During this stage, the reader often relies heavily on the text and focuses attention on the
visual information. The child begins gluing to print and sounding out words. Even words
that were easily recognized in stage 0 may now be sounded out by the stage 1 reader.
The stage 1 reader is attempting to break the code of print. They realize that letters and
letter combinations represent sounds. To this child decoding is extremely important. A
bottom up approach to teaching reading may be more appropriate for this stage of
development. Teacher directed modeling and instruction on the aspects of decoding is
crucial during this stage. This is the one stage where whole language may nit be the
approach for the instruction of reading.
105
Stage 2: Confirmation, Fluency, Ungluing from Print, Automaticity Stage – Grades
2-3, Ages 7-8.
Consolidation of what was learned in Stage 1. This requires reading many easy
and familiar books for the developmental reading. There is a gradual increase in
functional and recreational reading. Commonly use of the basal readers. Functional
reading is important – content area texts- this is where we fail in our attempts to prepare
our students. The range of possible recreational reading increases.
• This stage involves confirming the knowledge acquires in the previous two
stages and gaining fluency on those skills. Decoding skills continue to improve,
and they begin to develop speed in addition to accuracy in word recognition. At
this point, the reader should be able to give attention both to the meaning and to
the print, using them interactively to build their skills and fluency. This stage is
critical for the beginning reading. If the developing reader stops making progress
during this stage, the individual remains, in Chall’s words, “glued to the print.”
Typical developing readers usually reach this stage around the age of 8.
The job of the teacher is to keep the learner in perpetual forward movement.
Once the child has become successful at the aspect of decoding it is time to progress
forward. No teacher desires a child to be a word caller, or a reader who glues to text. A
good reader is a fluid reader, who automatically decodes words, thus freeing up the
attention for higher levels of comprehension and meaning. As the child progresses
through stage 1 they acquire orthographic knowledge of words. They recognize patterns
of words and reach a level of automaticity in word recognition. This found ability enables
the reader to become more fluent. Chall often refers to this stage as ”more of the same.”
In other words the learner needs opportunity to hone/sharpen the skills of reading in
comfortable text and comfortable reading situation. Recreational reading encourages
safe fluent reading. Carver calls this area of reading, rauding. This stage is not for
gaining new information or using reading to learn, but is used to gain control of reading
so that when they become stage 3 readers they will be able to use the tool of reading to
successfully gain knowledge. Once again the reading emphasis switches to a more
whole language approach. The learner should be given the opportunity to read many
familiars texts. The greater the amount of practice and the greater the
106
immersion/fascination, the greater the chance of developing the fluency with print that is
necessary for the more complex nature of reading to learn.
Stage 3: Reading for Learning the New Stage: A First Stage – Grades 4-8, Ages 9-
13.
Readers need to bring prior knowledge to their reading. The children acquire
facts.
• Reading to learn: At this stage, motivation for reading changes. The reader has
enough reading skill to begin to read text in order to gain information. Reader’s
vocabulary development accelerates at this point resulting from increased
exposure to the written word. Typically developing children usually achieved this
stage in 4th grade, around the age of 9.
107
Stage 4: Multiple Viewpoints Stage – High school, Ages 14-18
It should include instruction in reading/study skills, and reading strategies for
success.
• The reader at this stage begins to be able to analyze what they read, understand
different points of view, and react critically to what they read. Typical readers are
developing this skill as set during the high school years, around ages 14 to 19.
The essential difference between the Stage 3 reader and the Stage 4 reader is that
the Stage 4 reader begins dealing with learning from the multiple viewpoints. The
successful stage 3 reader grows in their ability to analyze what they read and react
critically to the different viewpoints they encounter. When the learner becomes
successful with this type of critical comprehension they have progresses from stage 3 to
stage 4.The stage readers are able to deal with layers of facts and concepts and have
the ability to add and delete schema previously learned. This is essential as the learner
now interacts with more complex text and share multiple views and concepts.
• At this stage, readers have learned to read selectively and form their own
opinions about what they read; they construct their knowledge from that of
others. This highest level of reading development is not usually reached until
college age, or later, and may in fact be achieved only by those who have
intellectual inclination.
Upon the arrival into stage 5 of reading, the students has learned to read certain
books and articles in the degree of detail and completeness that one needs for one’s
purpose. A stage 5 reader knows what not to be read, as well as what to read. During
stage 5, the reader has acquired the ability to construct knowledge on a high level of
abstraction and generality and to create one’s “truth” from the “truth of others. The more
the learner is immersed into one’s domain, the more conceptual knowledge the reader
has obtained. With this sophisticated level of domain specific knowledge, the more
108
critical the reader can become. They now have the ability to synthesize critically the
works of others and are able to form their own educated stance/position on the subject.
These are the stair steps of reading development. They are built upon and
climbed, as students grow in their literacy development. Some tine students get stuck in
one of the stages. It is our job as their teacher to “unstuck” them so they can move on to
the next phase and beyond, empowering them to become enthusiastic readers and
writers.
To understand more the differences of the stages reading development, here are
some things to consider:
• Stage 2 – Fluency
It is only when the decoding process becomes automatic that is, both
accurate and rapid that attention is freed for higher-level reading
comprehension skills.
109
Students who are reading below their grade level lack significantly in their
knowledge base.
• Stage 5 – Synthesis
Ideally, this is type of intellectual pursuit that occurs at the college level.
The reader synthesizes information from variety of sources to form
hypotheses. Stage 5 reading emerges as a result of intensive study in a
content area.
The longer it takes a poor reader to become a good reader, the more
disadvantaged the student is. If student are to succeed in school and in
today’s world, it is imperative they all become good readers by the third or
fourth-grade.
110
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111
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Implications:
Stage 3 is necessary for the industrial workplace
Stage 4 is an absolute for the informational age
Many readers never get beyond Stage 3 and most reading instruction ends before
students are adept at Stage 3 skills
Most remediation is done in Stage 1 and Stage 2 as well as Stage 3A
However, Stage 3A depends so heavily on adequate Stage 1 & 2 skills that decoding
and fluency may be more important for older students whose comprehension seems low
112
-April Vanessa Longga-
The main target here is the learning result the reimbursement grasp of the
concept of development in reading, applied the understanding of wide-ranging
developmental reading strategies and motivated mastery of teaching capacity in
developmental reading. The central issues is an old matters, before we should give
emphasis in examine the schooling instruction, the relationship of poverty and disability
to reading difficulties and school achievement, and of the interdisciplinary nature of
learning to read. Particularly, influential in helping us understand how people actually
learn to read and in ensuring that the research evidence was used in the classroom to
help children. For example a problem reader was defined as one whose reading
113
achievement level was one or more years below grade level. In the fields or in the actual
setting, we can see the child development in reading by providing evidence which is
changing the reading program from one based on grades to one which recognizes the
developmental nature of the child. The developmental reading program is paying
attention on the learner in which instruction is both continuous (instruction in every
grade) and has continuity (skills are taught in a sequence). It differs sense in our earlier
stage reading programs in that it does more than give lip service to the naturalness of
individual differences and recognized that it is unrealistic to expect all children to achieve
equal mastery of all skill and to proceed through the skill sequence at the same rate.
Reading must be taught as a process, not as a subject so that we cannot meet a big
problem regarding in comprehension.
114
-Roman Paz IV-
INTRINSIC FACTORS
For Reading Achievement
(Motivation, Intelligence, Learning Styles, Self –
Concepts, Interest)
Reported by:
Evaristo, Daisy
Submitted to:
Educ.5 Instructor
115
INTRINSIC FACTOR IN READING ACHIEVEMENTS
MOTIVATION
READING MOTIVATION
Children who become engaged in reading can overcome the disadvantages of risk.
• The ability of a person to judge his own capabilities in regard to a task. Seems to
play a major role in whether or not a child takes on reading challenge.
• He sees a reading challenge ass just that something he can master if he works
diligently.
• Base on research a child who belief in their ability to accomplish a task in
reading, achieve good performance in both math and literacy.
116
READING CHALLENGE
• consisting of curiosity
• involvement
INTEREST
117
3. Read parts of the story dramatically.
118
-Daisy Evaristo-
EXTRINSIC FACTORS
For Reading Achievement (The Material and the
Teacher as X – Factor)
Reported by:
Sarmiento, Roselle
Submitted to:
Educ.5 Instructor
119
EXTRINSIC FACTOR FOR READING ACHIEVEMENT
(The material and the teacher as x-factor)
EXTRINSIC MOTIVATION
Rewards Punishments
Formula 1:
EXTRINSIC (task relates to current and future goal)
+ REWARDS (external rewards)
MOTIVATION
Formula 2:
CHILD READING
+ NUMBER BREADTH
ACHIEVEMENT
*If the amount of child reading is increasing, the amount of breadth reading also
increasing which increasing the reading achievement. A reciprocal relationship will
happened if the children do not read.
Therefore, we can conclude that the main determination of reading achievement is
MOTIVATION.
120
PAST DISLIKE
READING AVOID TO READ
EXPERIENCE
MINIMUM LACK OF
ACHIEVEMENT EXPERIENCE
MOTIVATION INTRINSIC
REWARDS
EXTRINSIC
PUNISHMENTS
121
3. Ability to select material needed
These three points have related to win student interest. Without interests all the effort will
be useless. Therefore, teacher should arouse the learners to have their interest.
To develop the interest, learners should:
a. read material which is either recreational or functional reading
b. enjoyable story/lessons
B) Teacher as x-factor
122
-Roselle Sarmiento-
Reported by:
Submitted to:
Educ.5 Instructor
123
SELF – FULFILLING PROPHECY
Description
If a person thinks we are clever or stupid or whatever, they will treat us that way.
If we are treated as if we are clever, stupid, or whatever, we will act and even become
this way. This person has thus had their prophecy about us fulfilled. This is also known
as Pygmalion Effect.
124
THE PYGMALION EFFECT
Reported by:
Climaco, Geneva
Submitted to:
Educ.5 Instructor
125
THE PYGMALION EFFECT
The main idea concerning The Pygmalion Effect is that if you believe that
someone is capable of achieving greatness, then that person will indeed achieve
greatness. The Pygmalion Effect enables student to excel in response to the teachers
message that they are capable of learning and expected to learn. The Pygmalion Effect
is one big demonstration of the effect of teachers.
“If he is unskilled, he leaves scars on the lives of the young children, cuts deeply
into their self-esteem and distorts their image of themselves as human beings, but if he
is skillful and has high expectations of his students, their self-confidence will grow, their
capabilities will develop and their productivity will be high.”-J. Sterling Livingston
ROSENTHAL-JACOBSON STUDY
German-born US psychologist Robert Rosenthal (1933) and the US
schoolteacher Lenore Jacobson (1926) published a book entitled “Pygmalion in the
Classroom”. In their study, they showed that if teachers were led to expect enhanced
performance from some children, then the children indeed show that enhancement. The
purpose of it was to support the hypothesis that the reality can be influenced by the
expectations of others.
-Geneva Climaco-
126