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1、(1) I can still remember the faces when I suggested a method of dealing with 宾语what most teachers of English considered one of their pet horrors, 同位语extended reading. The room was full of tired teachers, and many were quite cynical about the offer 定语to work together to create a new and dynamic appro
2、ach to the place of stories in the classroom.(2) They had seen promises come and go and mere words werent going to convince them, 定语which was a shame as it was mere words 强调句that we were principally dealing with. Most teachers were unimpressed by the extended reading challenge from the Ministry, and
3、 their lack of enthusiasm for the rather dry list of suggested tales主语 was passed on to their students and everyone was pleased when that part of the syllabus was over. It was simply a box ticking exercise. We needed to do something more. We needed a very different approach.(3) That was ten years ag
4、o. Now we have a different approach, and it works. Heres how it happened (or, like most good stories, here are the main parts. You have to fill in some of yourself employing that underused classroom device, the imagination.) We started with three main precepts:(4) First, it is important to realize t
5、hat all of us are storytellers, tellers of tales. We all have our own narratives the real stories 定语such as what happened to us this morning or last night, and the ones 定语we have been told by others and we havent experienced personally. We could say that our entire lives are constructed as narrative
6、s. As a result we all understand and instinctively feel narrative structure. Binary opposites 独立成分 for example, the tension created between good and bad together with the resolution of that tension through the intervention of time, resourcefulness and virtue is a concept 定语understood by even the you
7、ngest children. Professor Kieran Egan, in his seminal book Teaching as Storytelling warns us not to ignore this innate skill, for it is a remarkable tool for learning.(5) We need to understand that writing and reading are two sides of the same coin: an author has not completed the task if the book i
8、s not read: the creative circle is not complete without the reader, 定语who will supply their own creative input to the process. Samuel Johnson said: A writer only begins a book. A reader finishes it. In teaching terms, we often forget that reading itself can be a creative process, just as writing is,
9、 and we too often relegate it to a means of data collection. We frequently forget to make that distinction when presenting narratives or poetry, and often ask comprehension questions 定语which relate to factual information who said what and when, rather than speculating on why, for example, or examini
10、ng the context of the action.(6) The third part of the reasoning 定语that we adopted relates to the need 独立成分to engage the students as readers in their own right, not as simply as language learners; learning the language is part of the process, not the reason for reading. What they read must become th
11、eirs and have its own special and secret life in their heads, a place 定语where teachers can only go if invited.(7) We quickly found that 主语one of the most important ways of making all the foregoing happen was 表语to engage the creative talents of the class before they read a word of the text. The pre-r
12、eading activities become the most important part of the teaching process; the actual reading part can almost be seen as the cream on the cake, and the principle aim of pre-reading activities is to get students to want to read the text. We developed a series of activities 定语which uses clues or fragme
13、nts from the text yet to be read, and 定语which rely on the students innate knowledge of narrative, so that they can build their own stories before they read the key text. They have enough information to generate ideas but not so much that it becomes simply an exercise in guided writing; releasing a f
14、ree imagination is the objective.(8) Moving from pre-reading to reading, we may introduce textual intervention activities. Textual Intervention is a term used 状语by Rob Pope 状语to describe the process of questioning a text (状语not simply as a guide to comprehension but as a way of 宾语exploring the conte
15、xt of the story at any one time, and 宾语examining points 定语at which the narrative presents choices, points of divergence, or narrative crossroads). We dont do this for all texts, however, as the shorter ones do not seem to gain much from this process and it simply breaks up the reading pleasure.(9) F
16、ollow-up activities are needed, at the least, to round off the activity, to bring some sense of closure but they also offer an opportunity 定语to link the reading experience more directly to the requirements of the syllabus. Indeed, the story may have been chosen in the first place because the context supports one of the themes that teachers are required to examine as part of the syllabus for example, families, science and technology, communications, th
