Sentences with phrase «of fiction texts»

I find my students» depth of understanding of fiction texts has been greatly enhanced by adding the nonfiction text.

These resources give students a strong foundation of knowledge of features of fiction texts in the 19th Century, using Mary Shelley's Frankenstein as the predominant example.

Not exact matches

= > no fiction book ever says that I pointed out the text analysis that person did to juxtapose it with the authenticity of the biblical narrative.

Anyone who is facinated by his work, or Tolkien's should look into the writings of another one of the Inklings, Charles Williams, who wrote religious texts, poetry, and fiction, including the novels WAR IN HEAVEN, ALL HALLOW»S EVE, and MANY DIMENSIONS.

You're only comeback to that was that you know Abe Lincoln was written as fiction because the author says so but refuse to understand that if we had the authors of the bible alive and could talk with us you'd probably find the same thing (obviously also as.sumption, but hey, if you think the authors wrote the bible as purely historical text, prove it).

When people expect to get history, science, doctrine, and ethics out of the Bible, but end up with nothing of the sort, or what they do get does not agree with science, history, or the doctrine of others, they either reject the whole thing as fiction, or they blindly believe and obey what they read, because they don't know what else to do with the text.

If your child is not interested in facts and non-fiction, there are plenty of fiction books based in particular historic settings which (in my experience) give a better understanding of history than many text - books.

«People always wanted storytelling games,» says Emily Short, an award - winning writer of interactive fiction and text - based mobile game Versu — where gameplay involves typing commands into an on - screen prompt.

On the Nature of Human Romantic Interaction Karl Iagnemma, The Dial Press, $ 22.95 A computer technician who thinks he's found the mathematical equation for romance and a botanist who secretly yearns for the author of her field's most trusted text are two of the protagonists in a spellbinding collection of short stories from Iagnemma, a roboticist and fiction writer at MIT.

«People always wanted storytelling games,» says Emily Short, an award - winning writer of interactive fiction — text - based adventures where the player has to type in commands at an on - screen prompt.

«The big promise of such work is its ability to give us a sense of something like the entirety of, say, 19th - century fiction, rather than the small percentage of canonical texts that are usually taken as exemplary,» says Dames.

Cory Doctorow, a writer and intellectual property activist, has released the text of his first science - fiction novel, Down and Out in the Magic Kingdom, under a new license that goes by the somewhat awkward name «Attribution - NonCommercial - ShareAlike.»

There are texts and meditations on the power and purpose of science fiction, both as art form and intellectual tool, but visitors are left to piece together their own ideas — difficult while being accosted by a real Darth Vader mask, Star Trek spacesuits and an enormous, loud, interactive NASA console.

And that's now truer than ever, thanks to the stratospheric rise of online dating, a market which is booming Play text adventure games, create and share your own interactive fiction stories.

Similarities in the likes of 500 Days of Summer (2009) are highly apparent while techniques and homages are found in the likes of Goodfellas (1990) and Pulp Fiction (1994) as acknowledged nods to the inspiring text.

The title Stoker alludes to Irish author Bram Stoker whose 1897 novel Dracula is one of the definitive gothic fiction texts.

The unit focuses upon exploration and analysis of a range of literary fiction texts including «Harry Potter» and «Lamb to the Slaughter» and «A Christmas Carol».

The cards are based on the topic of Hedgehogs and include fiction, non-fiction and poetry texts with a range of inference questions.

It offers both fiction and non-fiction texts and is based around the topic of penguins.

8 fully differentiated lessons that allow students to plan, prepare and create non fiction texts on the theme of family holidays.

2 fully differentiated (by colour) lessons to support the teaching of synthesis (writing a summary of differences) Differentiation: purple = lower blue = middle yellow = higher Resources use modern and 19th century non fiction texts on prisons and tattoos to guide students in responding to the synthesis task on the new specification language paper.

Analysis of the following texts: - leaflets - theme of holidays and attractions - articles - theme of legal driving age - reports - adverts - newspapers - range of broadsheet and tabloid - posters - NSPCC - social media - tv news - autobiography - letters - ban mobile phones Differentiation by colour: yellow = higher ability blue - middle ability purple = lower ability These resources provide opportunities to: - Analyse language, form and structure of non fiction texts - analyse the use of persuasive language - write persuasively - create a wide variety of non fiction texts - explore texts from a variety of sources and media - explore relevant topics for young people - develop speaking and listening skills Ideal for KS3 ahead of GCSE 9 - 1

These resources give students a strong foundation of knowledge of features of fiction and non-fiction texts in the 19th Century, using a range of visual and varied resources.

They offer both fiction and non-fiction texts and is based around a variety of topics.

(Theme of education) The aim is for students to gain experience in handling extracts from 19th century literature but also draw comparisons to modern non fiction texts.

3 fully differentiated (by colour) lessons to support the teaching of comparison between 2 non fiction texts - one modern and one from the 19th century.

6 fully differentiated (by colour) lessons to support the teaching of language analysis for new specification AQA paper 2 -(non fiction texts) Differentiation: purple = lower blue = middle yellow = higher Resources use a range of modern non fiction and 19th century non fiction texts to guide students through answering Q3 - language analysis.

A mini scheme of work focussing on some creative writing and EDUQAS fiction reading style questions of gothic texts.

- Storyboarder - to enable students to demonstrate that they can: «Maintain a positive attitude towards reading by understanding, listening to, and discussing a range of fiction, plays, poems, non-fiction, reference books and text books.»

One way to help struggling readers to engage with complex text is to first understand the difference between a non-fiction and a work of fiction.

This will aid students through the new GCSE English Language - for which they need to become confident readers of 19th, 20th, and 21st Century fiction and non-fiction texts.

Students learn through the following tasks: - Gauging and collaborating previous knowledge through an interactive starter task; - Identifying the descriptive devices in sentences written about 19th Century characters; - Building close reading skills through a study of a fiction extract from Frankenstein - Answering exam - style questions interpreting and inferring the key meanings in the text; - Using models and templates to write extended analysis responses about the descriptive language used in the fiction extract; - Peer assessing their partners» learning attempts.

This involved a lot of reading for information, analysing text and recognising non fiction text features.

Whether you are looking for fiction for middle schoolers, a picture book for young readers, or a nonfiction text, one of today's books is sure to fit the bill!

Her work includes children's fiction, young adult fiction, and a range of non-fiction texts including the recently released Raising Stress - Proof Kids.

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.

The unit explores comparisons and high quality inference through a range of fiction and non-fiction texts.

Students were then exposed to a unique article and also unique knowledge, in order to unlock the synergies of the nonfiction and the fiction text.

But there is something deeply powerful about hearing a classroom of your peers read life into a text by reading it with passion and understanding and inflection and... Instead of thinking when you're reading silently, «I wonder if anyone cares about this book,» seeing that every other kid in the class loves this book, wants to bring it to life, enjoys it, is relishing the fiction and the words in the story.

Unlike gamification, which is the layering of game mechanics on non-game environments, DGBL calls for the direct use of digital games as educational texts (game genres such as adventure, platformer, AI, interactive fiction, mmorpg, sandbox, and more can be used).

And of course a broad and deep base of knowledge doesn't just assist students in reading nonfiction texts: it makes successful readers of fiction too, just as the knowledge that students derive from reading isn't exclusively from nonfiction.

You can find curated collections of high - interest fiction and non-fiction texts at Steps to Literacy.

In order to fully comprehend reading materials, students need to understand the cause - and - effect relationships that appear in a variety of fiction and nonfiction texts.

Personalized goals mean that students can «analyze complex texts» using their choice of fiction or non-fiction reading at the appropriate Lexile / readability level for them.

Worksheets and activities for use with the Franklin Watts series FAST LANE, including a wealth of exercises and opportunities for further study using the fiction text as a starting point.

Contains: A booklet with 17 different texts centred around the theme of childhood, including modern fiction, pre-19th Century fiction, a play excerpt and poetry.

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.

A comprehensive unit using a variety of Science Fiction (short) stories, focusing on reading for meaning and locating information in a text.

They set a goal that all students would be proficient in this test's subskill of finding the main idea for both fiction and nonfiction texts.

Aside from the fact that she believes there is relevance and value in teaching fiction to students, even when they may not be required to deal with those sort of texts frequently in their adult lives, the largest problem everyone faces in her school, Lovdahl says, is the lack of necessary resources to effect this transformation.