INFORMATION FOR SESSION FACILITATOR Length 3 5 hours
- Slides: 27
INFORMATION FOR SESSION FACILITATOR Length: 3. 5 hours Be prepared for poetry Session Outcomes: By the end of this session you will be able to: • Explain the challenges of teaching poetry • Apply analytical techniques to unseen poetry • Apply scaffolding techniques from QTS ‘Scaffolding’ session and consider their impact on learning of lower attaining pupils • Plan lessons on an unseen poem and a pre-1914 poem for KS 4 pupils Links to Teachers Standards: TS 2: Promote good progress and outcomes by pupils TS 4: Plan and teach well-structured lessons TS 5: Adapts teaching to respond to the strengths and needs of all pupils Summary of Content: Trainees will consider how to teach pupils to analyse poetry, including unseen poetry, in preparation for GCSE English Literature. They will reflect and refine their current approach to supporting lower attaining pupils, and apply scaffolding techniques to their own practice. Links to other sessions: This session addresses trainees’ lack of confidence in teaching poetry. It also develops the scaffolding skills introduced in the QTS ‘Scaffolding to support lower attaining pupils’ and prepares trainees for pre-1914 poetry session. Resources: selection of unseen poems; GCSE Eng. Lit. past papers and Examiner’s Report on poetry
Be prepared for poetry
Do Now Reflect on teaching poetry: What are your headline thoughts on teaching poetry? How do your pupils respond to poetry lessons? What is successful? What are the barriers?
Session Outcomes By the end of this session you will be able to: • Explain the challenges of teaching poetry • Apply analytical techniques to unseen poetry • Apply scaffolding techniques and consider their impact on learning of lower attaining pupils • Plan lessons on an unseen poem and a pre-1914 poem for KS 4 pupils
TDF Session links TS 2: Promote good progress and outcomes by pupils Gather information about pupils’ prior learning needs TS 5: Adapts teaching to respond to the Take some steps to address pupils’ barriers to learning strengths and needs of all pupils 5
Do Now Review Discuss: What are your headline thoughts on teaching poetry? How do your pupils respond to poetry lessons? What is successful? What are the barriers for your pupils?
Intense Abstract Obscure 7
A Martian sends … It says … It could be … Mechanical bird with wings … Model T is a room with a lock … A haunted apparatus sleeps … Adults go to a punishment room … 8
About his person… It says … It could be … Five pounds fifty in change exactly Slashed, beheaded, stopped, expiry A final demand in his own hand … A ring of white unweathered skin … 9
Assessing poetry How is knowledge and understanding of poetry assessed in GCSE English Literature? Which assessment objectives are used? Which AO gets the most marks?
English Literature AOs Ø AO 1: Read, understand respond to texts. 37% Ø AO 2: Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate. 43% Ø AO 3: Show understanding of the relationships between texts and the contexts in which they were written. 15% Ø AO 4: Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. 5%
GCSE Literature Paper 2 Section B Taught Anthology: AO 1 AO 2 AO 3 1. Compare how poets present ideas about power in ‘Ozymandias’ and in ONE other poem from Power and Conflict. 30 marks Section C Unseen: AO 1 AO 2 1. In ‘On Aging’ how does the poet present the speaker’s attitudes to growing old? 24 marks 2. In both ‘Jessie Emily Schofield’ and ‘On Aging’ the speakers describe their attitudes to the effects of growing old. What are the similarities and/or differences between the ways the poets present these attitudes? 8 marks 12
Examiner’s Report 2018 Section B “Information about Rameses II, Stormont and the IRA, or Elizabeth Barrett. Browning's father's disapproval did not help most to answer questions, whereas what did help was thorough knowledge of the cluster of poems. ” Section C “The unseen poem actually enabled some lower ability students to write with empathy and understanding and outperform their section A and section B responses. Students would really benefit from remembering that this task is all about the ‘ways’ as stipulated in the question. ” 13
Spot the difference: The ways the poets present their ideas: A. Angelou resents the idea that just because she's old, people might feel she is useless "like a sack left on a shelf" while Judy Williams sees her grandmother as fragile rather than useless: "wet head felt delicate as a birdskull". B. Angelou uses the image of a "sack left on a shelf" to show her resentment at people's perception of the old as useless, while Judy Williams presents a gentler picture through the simile "wet head felt delicate as a birdskull", showing her grandmother to be fragile and vulnerable. 14
Convert these to AO 2 A. Angelou does not want to be pitied and says ‘Don’t bring me no rocking chair’, whereas Williams sees her grandmother as weakened by age ‘like a learning child’. B. In ‘On Aging’ the poet speaks as an old person, so the message is authentic and powerful, whereas Williams is speaking for her grandmother, and can only imagine her thoughts. C. Angelou wants us to see past the stereotypes of old age and acknowledge her relevance, asking for ‘understanding’ not ‘sympathy’. D. Angelou uses imperatives ‘Stop! Hold! Don’t!’ to challenge our assumptions and detach herself from our sympathy. E. Williams sees her grandmother diminished by age and imagines her more colourful past. F. Williams chooses images from her grandmother’s past, ‘imagined chestnut hair’ and ‘wedding dress silk on a widow’, implying that all the best things are behind her. 15
AO 2 ‘ways’: Ø Ø Ø Ø Ø the creation of a mood / tone the use / effect of particular word choices the use / effect of description structural elements titles sound patterning imagery perspective / voice tense punctuation 16
Dual Coding Form, structure and language To see the difference between these three terms, think of a house: Ø the whole building is the poem's form Ø the rooms are the poem's structure Ø the furniture is the poem's language
Adding detail: Form Type of poem e. g. sonnet, ballad, lyric, narrative, dramatic monologue Ø Number of lines, stanzas Ø Layout Ø Rhyme Ø Rhythm Ø Voice Structure Language Order and arrangement of ideas The choice of words and their and events effects e. g. Ø Beginning – what idea / event Ø is presented first? Ø Ø Development – how does that Ø idea, event unfold? Ø Ø Volta – change of direction Ø End – what thoughts are we left with? Simile, metaphor Personification Hyperbole Repetition Ø Alliteration, onomatopoeia Ø Enjambment 18
Section C AQA 2018 On Aging Jessie Emily Schofield Form: Structure: Language: 19
What’s the title? Someone has gone and left the swing Still swinging, slowly Slower, slow and now It stops, and someone else is coming Someone has gone and left the chair Still rocking, slowly Slower, slow and now It stops, and there is silence In the room. John Mole 1990 Missin g out words can stimula te thinkin g 20
Work with the challenge: The Sick Rose O Rose thou art sick! The invisible worm, That flies in the night In the howling storm Ø Create a culture of error Ø Accept all responses Ø Acknowledge the tricky bits Ø Explore why it’s hard Ø Use this as the basis for analysis Has found out thy bed Of crimson joy, And his dark secret love Does thy life destroy. 1. What questions would you ask to help pupils explore Blake’s poem? 2. What aspects of form, structure and language would you introduce? William Blake 21
To His Coy Mistress Andrew Marvell (1621 – 1678) was one of a group of metaphysical poets writing about thoughts and feelings. He was also a politician and a satirist; he held office under Oliver Cromwell and was an MP for Hull in Charles II reign. In pairs: Plan a lesson based on one section of To His Coy Mistress Prepare a 3 minute section to model to the group Be prepared to comment on your plan and discuss others’ plans. 22
To His Coy Mistress 23
Session Outcomes By the end of this session you will be able to: • Explain the challenges of teaching poetry • Apply analytical techniques to unseen poetry • Apply scaffolding techniques from QTS ‘Scaffolding’ session and consider their impact on learning of lower attaining pupils • Plan lessons on an unseen poem and a pre-1914 poem for KS 4 pupils
? Questions? @Teach. First @teachfirstuk
Evaluation Please take a few minutes to complete an evaluation of today’s training day http: //bit. ly/TFTime 2 Teach (case sensitive) 26
Tissue by Imtiaz Dharker “There was some beautiful writing about ‘Tissue’ which proved to have its own powerful effect on the students. ” Examiner’s Report 2018 27
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