CBI-Based Instructional Models

Dear readers...

This article is about CBI-Based Instructional Models. What is CBI-Based Instructional Models? Read the explanation below!

The CBI-based instructional models have gained widespread acceptance in the United States. The cognitive academic language learning approach (CALLA; Chamot & O’Malley, 1986) was the first to recognize that it was necessary to put greater focus on English features and strategies in order to help ELLs academically. The specially designed academic instruction in English (SDAIE) model, developed in the 1990s and used in California, has three main components: making content comprehensible and engaging, developing academic language, and providing strategies students can use for independent learning. The sheltered instruction observation protocol (SIOP) model (Echevarria, Vogt, & Short, 2004) was designed for teachers with ELLs in their grade-level classrooms but is now used in several classroom configurations, such as ESL, bilingual, and sheltered models. The SIOP model has eight major parts and includes more than 30 sheltering strategies in order to build students’ language skills while they are learning grade-level content. Teachers using the SIOP model are encouraged to be trained in its implementation, and a number of books are available to guide teachers in its use.

All of these models—CALLA, SDAIE, and SIOP—are sheltered instruction models. They activate the prior knowledge of the learner, provide supports for developing academic skills and language, provide manipulatives for hands-on learning, give generous time to generate output, and include authentic assessment. Sheltered instruction pedagogy is based on the CBI

model.

These instructional models and others that subscribe to CBI use subject-matter content as the basis of instruction, while helping learners develop many cognitive and metacognitive strategies. However, it’s also important that CBI programs provide enough time for ELLs to engage in daily oral language that is not on academic topics but develops social skills.

That’s all explanation about CBI-Based Instructional Models. I hope this article being helpful.

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Strategies: Reading with Expression

It just about goes without saying that when you are reading aloud to your students, you should read with theatrical expression, dramatic timing, and authentic enthusiasm. Mem Fox says, “There’s no exact right way of reading aloud, other than to try to be as expressive as possible. As we read a story, we need to be aware of our body position, our eyes and their expression, or eye contact with the child or children, our vocal variety, and our general facial animation. But each of us will have our own special way of doing it” (2001, p. 40).

When Joyce Zawaly, a fourth-grade teacher, has reading conferences with her students, she listens to her students read a passage from their independent reading book that they have selected and practiced. If their reading is monotone and word-by-word, she coaches them to be more expressive, reminding them of the way she models expressive reading during read-aloud. Joyce even goes so far as to create a different voice for almost every character in the books she reads aloud. She then includes in the child’s learning plan for reading a goal about reading aloud with more expression, and she sends the child off with instructions to practice for a week or two and then report back to her.

This is an appropriate reading goal. If children read more expressively aloud, chances are it will carry over into their silent reading. Just as comprehension is enhanced by a reader’s ability to visualize or “see” the story, it is enhanced by a reader’s ability to accurately “hear” the story: the sounds in the story, and the voices of different characters, along with the tone (angry, joking, excited, etc.) and pitch (hollering, whispering, etc.) of their voices.

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The Pronoun

Dear readers...

Tonight, I would like sharing about Pronoun. Many people ask me “what is the definition of Pronoun?” this writing only one of the definitions and a brief explanation about pronoun.

A pronoun is a word that is used as a substitute of a noun or of more than one

noun.

·         John finished the experiment. He had worked three days to prepare it. [The

pronoun he takes the place of the noun John. The pronoun it takes the place

of the noun experiment.]

·         Helen and David are excellent engineers, and they plan to open a firm. The

pronoun they takes the place of the nouns Helen and David.]

The word to which a pronoun refers (whose place it takes) is called the antecedent of

the pronoun. Using pronouns in place of nouns relieves the monotony of repeating the

same noun over and over. In the preceding example, John is the antecedent of he, and

experiment is the antecedent of it.

Not all pronouns have antecedents. For example, in the sentence “ Nobody was in the

room, “ the pronoun nobody does not stand for a specific noun. However, it is used “in

place of “ a noun in the sense that it is used in a sentence in the place where a noun

would ordinarily occur, as in the sentence “ A person was in the room.”

There are several kinds of pronouns: personal (including the possesive and reflexive

forms), relative, interrogative, demonstrative, and indefinite.

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Definition of Curriculum Vitae

What does curriculum vitae mean?

The words come from the Latin and mean literally ‘the course of your life’ or the brief story of your career. The term is often abbreviated to CV, and these two letters are used to represent the term in this book. In some countries a CV is known as a résumé (pronounced ‘rez-ume-ay’). This is a French word which means ‘summary’.

Therefore, given the individual nature of this document, there is no such thing as the right way to construct a CV. Every careers adviser has different ideas about the best way to design and fill in the document. Every employer will like to see this style or that layout. Each thinks that this or that should be included, in this or that manner. This book outlines the way I have found employers to be most impressed, and uses three basic rules that you will find repeated throughout the book:

1.       Keep it simple. An uncluttered document gets read before a fussy one. Plain layout of your document will help the reader to see how much you have to offer.

2.       Make it clear. Direct language and straightforward sentences are easy to read and understand.

3.       Keep it short. Less is often more when it comes to a CV.

In fact these rules should be applied to any written document, but are particularly important in a CV where only simple, clear and brief documents will be taken seriously.

What does a CV look like?

Every CV will look different, and that is the way it should be. Like the real ‘story of your life’, it will be different from every other person’s story, for each of us is unique. Typed on to paper, it is usually two to three pages long, printed on one side of the paper only. Black ink and white paper are most commonly used.

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Metalinguistic Awareness

Tunmer, Herriman, and Nesdale (1988) define metalinguistic awareness as the ability to “reflect on and manipulate the structural features of spoken language” (p. 136). In some respects, limiting the definition to spoken language is useful—for example, by forcing one to make a distinction between phonemic awareness and phonics. However, I would prefer to remove the word “spoken” from the definition, since this word narrows the scope of the construct “metalinguistic awareness” too much. For example, I would want to consider reflecting on or manipulating the order of words in a sentence (i.e., syntactic awareness) to be a kind of metalinguistic awareness whether the sentence was written or spoken.

In the field of reading, the ubiquity of the term phonemic awareness has made many aware of at least one type of metalinguistic awareness. However, there are a variety of subcategories of metalinguistic

awareness, each defined in terms of the particular units of linguistic structure that one is reflecting on or manipulating—for example, phonemes, in the case of phonemic awareness, or morphemes, in the case of morphological awareness. Gombert (1992) divides metalinguistic awareness into six categories: metaphonological, metasyntactic, metalexical, metasemantic, metapragmatic, and metatextual. My purpose here, though, is not to provide an exhaustive account of the different types of

metalinguistic awareness, but to give some examples of the ways that both vocabulary acquisition and reading comprehension are dependent on metalinguistic abilities.

To recap, the metalinguistic hypothesis I am arguing for is a particular version of the aptitude hypothesis: that some of the correlation between vocabulary knowledge and reading comprehension can be accounted for by appealing to the relationship of each of these with a third construct, metalinguistic awareness. To support this claim, I try to show, first, that there are strong connections, in some cases arguably causal, between metalinguistic awareness and vocabulary growth; and, second, that there are strong connections, again some causal, between metalinguistic awareness and reading comprehension.

Understanding the role of metalinguistic awareness in the vocabulary– comprehension relationship has implications for how we approach vocabulary instruction. One main implication is that more attention should be given to the metalinguistic demands of vocabulary learning, which may be a source of difficulty for some students (Nagy & Scott, 2000). Another is that vocabulary instruction needs to be more explicitly metalinguistic—that is, that “word consciousness” is an obligatory, not

an optional, component. Finally, the metalinguistic hypothesis suggests that there are ways to integrate vocabulary instruction and comprehension that make both more effective.

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Great Ways to Generate Ideas

So how do you get article ideas? Where do they come from? There are numerous ways to find usable, salable ideas. I would like sharing about the great ways to generate ideas. Explore these and find some of your own as well.

1. Take a lot of showers.

Ask twenty successful freelance writers where they get their best ideas, and it’s safe to bet nineteen of them will say, ‘‘in the shower.’’ There’s even some science to back them up—possibly something about negative ions. But who cares, as long as it works?

2. Put your subconscious to work.

 Remember that one writer in twenty who doesn’t get ideas in the shower? Odds are he would tell you that the best ideas seem to bubble up out of nowhere. That, some say, is the subconscious mind at work. But you don’t have to sit back and wait for your subconscious to start bubbling. You can give it an assignment. Once, Napoleon Hill, one of the founders of Success magazine, was trying to come up with a title for a new book. He had a talk with his subconscious before he went to bed. ‘‘I’ve got to have a million-dollar title, and I’ve got to have it tonight,’’ he said (and he said it out loud). ‘‘Do you understand that?’’  Apparently his subconscious got the message, because at 2 A.M., Hill woke up, bounded to his typewriter, and banged out the title. Hill’s book, Think and Grow Rich, went on to sell more than twenty million copies.

If you try Hill’s technique, the results may be mixed. Some mornings you may wake up with an idea you’ve asked for. Other days you’ll wake up with a good idea but on an entirely different subject. The rest of the time you’ll just wake up.

3. Read everything you can get your hands or eyes on.

The best writers not only try to keep up with the fields they cover but read just about anything in sight. Few of the things you read will pay off in an immediate story, but they all help feed that mysterious idea machine in your head. Such as: Books, Magazines, Newspaper, Online, and Junk mail.

4. Listen up.

Some of the best story ideas come from listening to your friends, neighbors, and co-workers talk about their concerns of the moment. Magazines pay a lot of money to convene focus groups of everyday people who sit around for an hour talking about their likes, dislikes, and whatever else they’re asked to discuss. You can accomplish much the same thing for free by paying attention when someone starts griping about X, singing the praises of Y, or asking why no magazine has ever told the truth about Z.

5. Tap into your own experience.                                        

Forget for a moment that you’re a writer. What’s on your mind, just as a human being? If you’ve wondered about something, chances are other people have, too. The difference is you are a writer and can go out, investigate the matter, and maybe even get paid for coming back with the answer. Have a baby, and you’ll find yourself jotting down child-related story ideas. Switch jobs, move to a new home, get a divorce, get a disease, win a trip for two to exotic Bora Bora—all of life’s amazing twists and turns can supply you with fresh ideas. For instance, writer Steve Fishman turned a brain hemorrhage into an award-winning magazine article, then into a widely acclaimed book called A Bomb in the Brain. But you don’t have to lust after any misfortune.

Just remember that the events of your life—the good ones and the bad ones—are all part of your material as a writer.

6. Get to know some PR people.

Public relations professionals often have great story ideas before anybody else. Many of them are former magazine or newspaper writers themselves. The trouble, of course, is that it’s their job to put a spin on the idea that benefits their clients. The other trouble is that they’re out to get their clients as much positive publicity as possible, so if you received a story tip from them, a few dozen other writers probably did, too. That said, you’ll find PR people are worth paying attention to. If nothing else, they can sometimes get you access

to key experts and provide background information that you’d otherwise spend a lot of time digging up on your own. Just remember that their agendas and yours aren’t identical.

7. Keep a notebook handy.

As you go through your day, you cannot even begin to anticipate everything and everyone that will cross your path. Nor can you anticipate every thought that will enter your brain. That’s why you should always have a notebook with you—so you are ready to jot down any idea that might present itself. Don’t trust your brain to store these ideas until you have time to write them down. Put them on paper immediately.

These are not the only ways to find good article ideas, but they are a good start if you’re stumped. Remember there is no right or wrong way to find an idea. Always be open to receiving ideas. They are all around you.

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Reading Aloud Strategies: Prior Knowledge

Tonight, I would like sharing an article about another reading aloud strategies. It is Prior knowledge.

I was reading a book written by Mary Pope Osborne. It was the week after winter break, but the opportunity to read the newest book in a familiar series was too good to pass up. All but about two of my students had read a Magic Tree House book before this one.

The need to activate prior knowledge is often linked to some aspect of the story—understanding a certain kind of character, the place as well as the time period of the setting, or the topic of the story. Before we read on the first day, we had talked a little about Camelot, King Arthur, and the Knights of the Round Table. The avid readers of the series knew that Jack and Annie had performed some tasks for Morgan Le Fay, the librarian in Camelot.

I still remember what written was by marry in her book, Reconsidering Reading-Aloud, She said that:

“ The prior knowledge to activate for this book also included that of book structure—it has a prologue. We talked about what a prologue is (“like an introduction,” Youngghil explained) and how it functions. In this case, it gives the reader of a series book some basic information about what has happened in the previous books. But it was on the second day before reading that my generic question, “Does anyone want to say anything before I start reading?” resulted in full-blown activation of prior knowledge. I even used those words to describe to the students what they were doing. After my question, there were the usual negative mumblings from those who just wanted to get right to the book. But Shane had his hand up, so there would be some talk before reading on this day. He made a connection between the book and a cartoon show on TV that is a take-off on the Camelot story, with children as the knights. Other students had seen TV shows and movies that were directly or indirectly related to the Arthurian legend. Once Shane got them started, the connections were building and building, like the strands of a spider’s web, from student to student. Then we were more ready than ever to read. Before I started, I said, “What we were just doing was a really important and really smart thing that readers do before they read a book or before they read the next chapter in their book. Good readers think of all the connections they can make to the book. That’s called activating your prior knowledge. It’s like building a web inside your brain of everything you already know and all

the connections you can make to the book. When you activate your prior knowledge, you give the new information in the book a place to plug in. Human brains can learn new information only when there is a place to plug it in. If you can’t plug it in to what you already know, it just sort of slides out of your brain.” Not very scientific, but I hoped it was graphic enough so that my students would not view the time spent getting ready to read as wasted.”

It is clear that priorknowledge is very important. That’s all my writing. Thanks

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