Monthly Archives: May 2020

Chapter 2 of The Reading Mind, “Sound It Out”: Summary, Implications and Discussion Questions

“Summary

  • To decode text, a reader must (1) distinguish one letter from another, (2) hear individual speech sounds, and (3) know the mapping between letters (and letter groups) and speech sounds.
  • Letters are not designed for the sake of being easily distinguishable, and readers do often confuse the ones that look similar. Still, there aren’t that many to learn, so most children learn them without difficulty.
  • Humans are not born with the ability to hear individual speech sounds. In fact, individual speech sounds are influence by context: they vary in speakers with different regional accents for example, and the same person says the same speech sound differently depending on the other speech sounds in the word, So when we think of the sound associated with a letter, we’re really thinking of an ideal, an abstraction.
  • Being able to hear individual speech sounds in associated with reading success, and when children have trouble learning to read, this process is the most common stumbling block.
  • In contrast to some other languages, English uses a complicated mapping of speech sounds to letters (and letter groups). Still, the mapping is more orderly than you might guess, because the context in which a letter appears may provide information about its sound.
  • The mapping could be simpler. Still, most children learn it.

 Implications

  • If the hearing of individual speech sounds is usually the trouble spot for children learning to read, that might mean it’s the biggest contributor to diagnosed cases of dyslexia. That seems to be true, but dyslexia is complicated and the extent to which other factors contribute remains actively debated.
  • If the basic components of decoding are hearing sounds, appreciating the differences between letters, and learning the mapping between them, then anything that promotes these abilities ought to help once reading instruction starts. I’ve mentioned phonological awareness is improved by wordplay like rhyme and alliteration. Adults reading aloud with children can also draw their attention to letters by pointing out the very fact that it’s the marks on the page that carry meaning, that some letters look the same, then we start at the left of a line and move to the right when we read, and so on. All these measures (and others are similar in spirit) teach children about letters and print, and give them an edge when reading instruction begins.
  • We might think that, when teaching children letters, we should label them with the sound they make, rather than the commonly used name. For example, when pointing out a “t” we shouldn’t that’s a tee, but instead say this letter says t, approximating as closely as possible the sound t in isolation, rather than saying tuh. This practice sounds logical because we’re implicitly teaching the letter-sound correspondence. Logical, but there’s no evidence that this practice helps, probably because almost all letter names at least contain the right sound.
  • The data shown in figure 2.0 indicate that, even though the letter-sound mapping in English is difficult, children do learn it, and by fourth grade their reading comprehension is comparable to their peers in countries where the letter-sound mapping is easier to learn. We should bear this finding in mind when thinking about reading progress within the US too. I can’t see an advantage to a school starting reading instruction especially early in because of the difficulty of the English mapping, and indeed, research indicates that any advantage to the code is transient. Kids who started later eventually become fluent decoders, and read as well as their early starting peers.

 Discussion Questions

  • If more children came to school with good phonological awareness, more would experience quick success in reading. Some children get incidental practice in phonological awareness (via read-alouds, for example), but many don’t. If you were the head of programming for children’s television for a major network.
  • The text provides an account of how we are able to read letters that look different. It assumes that letters share basic features, irrespective of typeface, size, and so on. That is, a capital “B” always has a vertical line and two semicircles on the right. But how, then, are you able to read print that is upside down?
  • Suppose a child grew up in household with parents who were born in another country and who speak English with heavy accents. Do you think that child would have more difficulty learning the mapping between letters and sounds because the examples used in reading instruction—the word “cat” for example—are pronounced with different speech sounds at home and at school?
  • I noted that learning to distinguish letters usually does not present a big problem for children learning to read. Nevertheless, perhaps it would be worthwhile to change fonts for beginning readers to make confusable letters less confusable, for example, by printing “d” with a dot inside the circle and “b” as it usually appears. As children move on to more advanced reading material, they will of course lose this cue, but by that time they likely won’t need it. Do you think such a measure would prove useful?”

Excerpted from: Willingham, Daniel T. The Reading Mind: A Cognitive Approach to Understanding How the Mind Reads. San Francisco: Jossey-Bass, 2017.

A Learning Support on Note Cards for Research and a Structured Note-Card Blank

Over the years I’ve been assigned to “co-teach” many classes; in New York City, I was a regular fixture in social studies classrooms in which I was charged with supporting struggling learners. In the last school I worked in in the Five Boroughs, I worked with three different teachers with three different approaches to the curriculum. Because the assistant principal in charge of the humanities regularly changed the form and content of the curriculum, my duties required me, as a colleague once put it so cogently, to constantly “reinvent the wheel.”

One of the most contentious, and therefore most subject to change, was the synthetic research paper. One of the teachers I worked with assigned students the task of writing, and turning in for assessment, a set of 3 x 5 cards with sources and notes that would eventually end up in students’ papers. For that reason, I contrived this learning support with examples of note cards for research along with this structured note-card blank to aid struggling learners with this task.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Stereotype

“Stereotype, Stereotyping: Derived from Greek (stereos = solid, typos = mark), and applied in the late eighteenth century as a technical term for the casting of a papier mache copy of printing type, the concept was developed by the North American journalist Walter Lippmann in his book Public Opinion (1922) to mean the fixed, narrow ‘pictures in our head,’ generally resistant to easy change. It usually carries a pejorative meaning—in contrast to the sociological process of typification.”

Excerpted from: Marshall, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

Cultural Literacy: Alcoholism

Here is a Cultural Literacy worksheet on alcoholism that doesn’t require any explanation, I guess.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Imperfective

“Imperfective: Indicating action that is incomplete and continuing, e.g., ‘She is still dancing.’ Also ATELIC, DURATIVE.”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Word Root Exercise: Per

Let’s get started on a Monday morning. Here is a worksheet on the Latin word root per. It means through, thoroughly, and wrong–a strange melange of meanings, I know. I have not taught this explicitly; it may be better to teach it in reverse, writing up a bunch of context clues worksheets of words that stem from this root, then present the root.

In other words, if I were to teach this, I would devote some time to planning its best delivery. This is not, therefore, I suppose, a complete document.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Futurism

“Futurism: Chiefly an Italian literary and artistic movement, futurism stressed the dynamism of motion and appealed to young Italian artists to reject the art of the academies and museums. The first ‘Manifesto of Future Painters,‘ proclaimed in 1910 in Turin, was signed by Umberto Boccioni, Carlo Carra, Giacomo Balla, Gino Severini, and L. Russolo. Attempting to represent time and motion, these painters and sculptors showed multiples of moving parts in many positions simultaneously. While futurism was not directly associated with fascism until after World War I, evidence of right-wing political ideas and the glorification of war can be found in Boccioni’s States of Mind of 1910-1911.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Brooklyn Bridge

It was the biggest civil engineering project in the history of the world when it was built, so it has global significance. But whenever I post something like this reading on the Brooklyn Bridge and its accompanying vocabulary-building and comprehension worksheet, I do so with my erstwhile New York City colleagues in mind. This is as much about the Roebling family, father and son, who designed and built the bridge–did you know that the day-to-day superintendency of the project fell to Emily Warren Roebling, the daughter-in-law of John Roebling, who began construction of the Brooklyn Bridge? There’s some women’s history to be extracted from this material for the right learner.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Usage

“Usage: The way in which the elements of language are customarily used to produce meaning, including accent, pronunciation, words, and idioms. The term occurs neutrally in formal usage, disputed usage, and local usage, and it has strong judgmental and prescriptive connotations in bad usage, correct usage, usage and abusage, and usage controversies.”

Excerpted from: McArthur, Tom. The Oxford Concise Companion to the English Language. New York: Oxford University Press, 2005.

The Weekly Text, May 15, 2020: A Lesson Plan on the Simple Present Tense of Verbs

OK, I think this lesson plan on using the simple present tense of verbs speaks for itself and therefore doesn’t require much comment.

I open this lesson with this worksheet on the homophones who’s and whose. These two words (well, a contraction and a word) are quite easily confused, so the explanation for their use is extensive. Students will walk away, after completing this, with a page from a grammar and usage manual. In the event the lesson goes into a second day, here is a Cultural Literacy worksheet on the term and concept expletive.

This scaffolded worksheet is the centerpiece of this unit for students. You might need this word bank to support completion of the worksheet. Finally, here is the teachers’ copy of the worksheet to make getting through the lesson a little easier for you.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.