Sentences with phrase «narrative text reading»

Core Lesson Connections book offers leveled informational and narrative text reading opportunities to develop vocabulary and comprehension.

Not exact matches

What is less clear to me is why complementarians like Keller insist that that 1 Timothy 2:12 is a part of biblical womanhood, but Acts 2 is not; why the presence of twelve male disciples implies restrictions on female leadership, but the presence of the apostle Junia is inconsequential; why the Greco - Roman household codes represent God's ideal familial structure for husbands and wives, but not for slaves and masters; why the apostle Paul's instructions to Timothy about Ephesian women teaching in the church are universally applicable, but his instructions to Corinthian women regarding head coverings are culturally conditioned (even though Paul uses the same line of argumentation — appealing the creation narrative — to support both); why the poetry of Proverbs 31 is often applied prescriptively and other poetry is not; why Abraham, Isaac, and Jacob represent the supremecy of male leadership while Deborah and Huldah and Miriam are mere exceptions to the rule; why «wives submit to your husbands» carries more weight than «submit one to another»; why the laws of the Old Testament are treated as irrelevant in one moment, but important enough to display in public courthouses and schools the next; why a feminist reading of the text represents a capitulation to culture but a reading that turns an ancient Near Eastern text into an apologetic for the post-Industrial Revolution nuclear family is not; why the curse of Genesis 3 has the final word on gender relationships rather than the new creation that began at the resurrection.

Phyllis Trible subtitles her book Texts of Terror, «Literary - Feminist Readings of Biblical Narratives,» packing several «new» methodologies into a phrase.

Maybe more than ever, the students displayed the «competency» about being able to argue intelligently based on their own reading of Hobbes, Locke, and Rousseau, and of being able to integrate particular arguments from the text in their own «comparative narratives.»

As artistically constructed texts, they, by the signs that constitute them, put forward potential narrative worlds; and we, by the activity of reading, (1) transform those signs into people, places, actions, and teaching and (2) concomitantly create discrete, self - contained story worlds.

Again, the narrative itself, as read by the sympathetic and sensitive reader, constitutes its own best commentary; and again, therefore, we call brief attention to points in the biblical text which, in our judgment, ought to be specially noted:

She assumes that the narrative method will expose how the text would have itself read and does not recognize that her empathic stance is a concern she brings to the narrative.

December (Obedience): - Created to Be His Helpmeet by Debi Pearl - Quiverfull: Inside the Christian Patriarchy Movement by Kathryn Joyce - Quivering Daughters: Hope and Healing for the Daughters of Patriarchy by Hillary McFarland - Texts of Terror: Literary - Feminist Readings of Biblical Narratives by Phyllis Trible

The only real issue is the size of the text on screen which, in these modes, becomes a bit too small to read at times often leading to missed narrative.

He is currently researching how students read and engage with non-traditional texts like video game narratives, manga, horror, fantasy, etc. as well as the effects of inquiry teaching on teachers, students, and learning.

The Student Editions include: • Links to instructional videos, audio, or texts • Links to practice quizzes or activities • 12 assessments that include a total of 39 multiple choice, 2 true / false, and 2 sorting questions • Definitions of key terms related to each of the standards • Examples of how students can apply the standards to their reading and deepen their understanding of what they are reading • Excerpts from several high - quality texts, including: - «Harriet: The Moses of Her People» by Sarah H. Bradford - «The Narrative of Sojourner Truth» by Olive Gilbert and Sojourner Truth - «On Women's Right to Vote» by Susan B. Anthony - «Give Me Liberty or Give Me Death» by Patrick Henry • Accompanying Teaching Notes files The Teaching Notes files include: • Additional activities and writing prompts to help your students explore the standard • Links to additional resources • Ideas to differentiate the activities for students who need extra support or to be challenged further • Answer guides with correct answers, answer choice rationales, word counts, and DOK (Depth of Knowledge) levels

«To link to English, students have read and compared a range of text types (for example narratives, poetry, informative texts or persuasive texts) based on the topic of Saving Planet Earth and then experimented with writing and responding to topics across a range of genres.

Whereas students in the past may have read something, then moved immediately to write personal responses and narratives, the Common Core pushes them and their teachers to stay with the text — to use the author's words and other evidence within the text to answer questions and to support analysis.

Our plan is grounded in the following two premises: 1) When purposefully synchronized with one another across multiple forms of media («cross-media»), children's and adolescents» exposure to high quality youth - oriented social and ethical story content, i.e. stories of substance specifically about character development, compassion, and courage (CCC), is a powerful way to promote youth academic achievement and ethical values; 2) Especially if these stories, told and «read» across media, in their various genres (human interest, biography, history and historical fiction, civic engagement, coming of age, social change, spiritual awakening, moral issues, etc.), are «taught» by «educators» (broadly defined) using an «evidence - based» pedagogy that A) makes use of peer to peer, and adult facilitated group discussion and debate as a primary form of instruction, and B) takes advantage of access to the texts of the story that are made available cross-media (narratives, scripts, videos, etc.) to foster students» critical thinking and ethical reflection skills.

After reading, teachers should not only revisit the opening questions, but they should engage students in discussing their favorite parts of a narrative text or the information that they learned or confirmed in an informational text.

Contains - Alphabet (topic word for each letter)- Comic Summary (read a story and summarise it in comic form)- Hand (research a volcano in history and pull out main facts)- Imagination (descriptive writing prompt)- One Sentence Only (summarise each paragraph in a chosen text)- Positive and Negative effects (foldable sorting effects of volcanoes)- Storyteller (narrative writing prompt)- Structure of a volcano (information sheet for students to create a volcano diagram)- Types of volcano (foldable that involves matching names, description and picture)- Volcanic Eruptions Comprehension (information passage with questions)- Volcano cloze (information text with missing words about volcanoes)- Volcano explorer (gathering information from interactive voclano website)- Volcano Vocabulary (foldable involving matching topic words to definitions)- Witness vs. Scientist (foldable involving sorting statements)

Will highlight students» areas of strength and weaknesses in key reading areas including: giving / explaining meanings of words in context, retrieving and recording information / identifying key details from fiction and non-fiction, summarising main ideas from one or more paragraphs, making inferences from the text / explaining and justifying inferences with evidence from the text, identifying / explaining how information / narrative content is related and contributes to meaning as a whole, and identifying / explaining how meaning is enhanced through choice of words and phrases.

Thus we decided to create one large category labeled reading instruction (which included teacher - directed reading of narrative and expository text; instruction in phonics, vocabulary, and comprehension; and literature circles); the other original categories — independent reading, writing in response to reading, other written composition, spelling, reading aloud to students — remained intact.

The original activity codes (e.g., phonics, comprehension, vocabulary, directed reading of narrative text, directed reading of informational text, literature circles) proved somewhat more challenging because of the ways in which teachers interpreted the directions.

Reading instruction included teacher - directed reading of narrative and expository text, literature circles, and instruction in phonics, vocabulary, and comprehReading instruction included teacher - directed reading of narrative and expository text, literature circles, and instruction in phonics, vocabulary, and comprehreading of narrative and expository text, literature circles, and instruction in phonics, vocabulary, and comprehension.

Created by a team of curriculum experts, these books feature step - by - step standards - aligned instruction, full - length practice tests for all question types — Interactive Reading, Literary Analysis, Narrative Writing, and Research Simulation, expert guidance for dealing with authentic texts, including tips, strategies, and graphic organizers, and easy - to - navigate lessons equip students with the research and writing skills needed to ensure success on the PARCC ® ELA Assessments.

Pupils should read both narrative (e.g. fictional stories and poetry) and informative texts (e.g. news articles and speeches).

Should your instructional approach be different when your students are reading narrative or informational texts?

Not until the later grades does there begin to be expressed concern about children's ability to learn from reading; that is, to read widely and deeply in expository as well as narrative texts.

For instance, reading in geography can focus on areas that interest young learners, using such informational books as atlases and fictional stories that contain narrative text.

Reading comprehension episodes help students learn to comprehend narrative, expository, and poetic text and to answer factual, inferential, main idea, and vocabulary questions about what they read, while also learning key academic vocabulary.

These content area reading strategies are critical evidence - based instructional practices that are used across different content areas to provide higher - quality instruction by incorporating the practices into the curricula to ensure students can access and comprehend secondary narrative and expository text.

Similarly, teachers can begin to use more informational text in guided and shared reading, which traditionally has involved mostly narrative fiction.

The second unit, Reading to Learn: Grasping Main Ideas and Text Structures, addresses essential skills for reading expository nonfiction, such as ascertaining main ideas, recognizing text infrastructure, comparing texts, and thinking critically, as well as the skills for reading narrative nonfiction, such as determining importance by using knowledge of story strReading to Learn: Grasping Main Ideas and Text Structures, addresses essential skills for reading expository nonfiction, such as ascertaining main ideas, recognizing text infrastructure, comparing texts, and thinking critically, as well as the skills for reading narrative nonfiction, such as determining importance by using knowledge of story structText Structures, addresses essential skills for reading expository nonfiction, such as ascertaining main ideas, recognizing text infrastructure, comparing texts, and thinking critically, as well as the skills for reading narrative nonfiction, such as determining importance by using knowledge of story strreading expository nonfiction, such as ascertaining main ideas, recognizing text infrastructure, comparing texts, and thinking critically, as well as the skills for reading narrative nonfiction, such as determining importance by using knowledge of story structtext infrastructure, comparing texts, and thinking critically, as well as the skills for reading narrative nonfiction, such as determining importance by using knowledge of story strreading narrative nonfiction, such as determining importance by using knowledge of story structure.

Their test scores are higher when reading narrative fiction than when reading informational text.

Narrative informational text typically communicates accurate information and has a well - defined beginning, middle, and end; it is written much like a story and is read from beginning to end.

Anyone with an Internet connection can search the text of and read the compelling narratives, historical accounts and classic works offered today, and in doing so access a world of ideas, knowledge and discovery.»

Text to speech will also read text to you, although some of the parsing is a little odd so it can be difficult to follow the narratText to speech will also read text to you, although some of the parsing is a little odd so it can be difficult to follow the narrattext to you, although some of the parsing is a little odd so it can be difficult to follow the narrative.

Things like image formatting / image placement (the issue with images is that it fouls things up when it comes to saving / navigating a document along with editing comments and track changes), text boxes, symbols, graphs, interior layout, front cover, and other stylistic measures should be added only after the bulk of the narrative is secure and fairly polished (read this: the editor has done most of the heavy lifting of the edit).

The GSLA often redacts the original interviewer questions, so the text ends up reading more like a narrative than an interview.

Lexicon juxtaposes quotidian manifestations of language — including fragments of vintage signage, scrolling LED texts, neon signs, printed posters, cartoon and diary - like narratives — to create a kind of visual «chorus,» a polyphony of voices, in which language becomes more elastic and open to multiple readings and interpretations.

Apart from transferring the caption writer here to a job at the Ministry of Second - Hand Sociology, and imposing a ban on the use of «practice» and «narratives» in your wall texts, what you need to do in your shows, Alex, is remember that art is something you want to see, not read about.

By reading this text, you have entered this museum of leaves we have yet to define, and are now contributing to A House of Leaves, a co-author of this narrative, a player of this game, a character of this fiction, a performer in this symphony.

He has published widely in continental philosophy of art, ethics, responsibility, on Derrida, Deleuze, Rancière, Nancy, Lyotard, Heidegger, Nietzsche and Kant; and at the same time he has given many readings of what he calls performative texts in galleries, including Wilkinson («Where narrative stops»), Focal Point («Goldmine ten theses on music»), Stroom («The swerve of freedom after Spinoza»), and Extra City («Philosophers enowning that there be no own»); and he collaborates with artists, notably Ian Kiaer, Benoît Maire, and Gregory Maass & Nayoungim.

The narrative is bracketed by American artist Robert Smithson's seminal non-sites that asked spectators to look, walk, view, read, and think about combinations of objects, images, and texts installed in a gallery and the Swedish curator Maria Lind's groundbreaking renovations of the exhibition form and the museum space into something more active, open, and democratic inviting the public into new and unexpected encounters with works of art and institutions.

BUY ONE TONIGHT, READ IT FOREVER; THE BEST IN WORDS AND PICTURES; YOU ARE THE STORY: With that earnest air of hucksterism indigenous to an earlier time in American history, Allen Ruppersberg spins new narratives from old ones in his bright, sizable 1985 collage Cover Art (Wonder Series)-- a pristine composite of pasted - up texts like the above (whether in adlike tag lines rendered with vintage label - maker tape or via disconnected words and numbers torn from paper) and mostly midcentury print images (including a depiction of the pope, one of a monkey wearing a lab coat, and several nature

But the work stands as a temporal framing of the artist's journey, a frozen moment in time re-contextualised as «art» — at first reading — without any narrative text, the work expresses language to be found in Abstract Expressionism, or even Andy Warhol's oxidation paintings — where in fact they could be read as documents.

I [a physical scientist] was getting uneasy as I read through the text not because the content of the narrative but because assertions are accumulating without reference documentation.

The course objective is to learn the core skills of English composition and how to apply those skills to become effective writer and engaged reader; gain proficiency with all of the steps in the writing process while creating original compositions in the narrative, the informative, and the argumentative modes; and learn how to read in an active, inquisitive manner and analyze the rhetorical situation of a text or the student's own compositions.