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Reading Material (reading + material)
Selected AbstractsPrimary teachers as readersENGLISH IN EDUCATION, Issue 1 2008Teresa Cremin Abstract In the context of the continued pressure and politicisation of the teaching of reading in England, the United Kingdom Literacy Association (UKLA) sought to ascertain patterns in primary teachers' reading, both personally and professionally. The project, undertaken in 11 Local Authorities in England, explored 1200 primary teachers' personal reading habits and preferences, investigated their knowledge of children's literature, and documented their reported use of texts in the classroom through a questionnaire. In addition, it sought to establish the extent of the teachers' involvement with and use of local area/school library services. This paper reports on the findings with reference to the teachers' personal reading, the frequency of this reading and the sources they use to select their reading material. It also considers the teachers' favourite childhood texts and the books they identified as highly significant to them, as well as their perceptions of the importance of literature. Connections are made to the data gathered about their knowledge of children's literature, and how primary teachers decide which literature to work with in the classroom. [source] Teaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural GeographyGEOGRAPHY COMPASS (ELECTRONIC), Issue 5 2008Toby Butler Author's Introduction This article is concerned with the history and practice of creating sound walks or ,memoryscapes': outdoor trails that use recorded sound and spoken memory played on a personal stereo or mobile media to experience places in new ways. It is now possible to cheaply and easily create this and other kinds of located media experience. The development of multi-sensory-located media (,locedia') presents some exciting opportunities for those concerned with place, local history, cultural geography and oral history. This article uses work from several different disciplines (music, sound art, oral history and cultural geography) as a starting point to exploring some early and recent examples of locedia practice. It also suggests how it might give us a more sophisticated, real, embodied and nuanced experience of places that the written word just can not deliver. Yet, there are considerable challenges in producing and experiencing such work. Academics used to writing must learn to work in sound and view or image; they must navigate difficult issues of privacy, consider the power relations of the outsider's ,gaze' and make decisions about the representation of places in work that local people may try and have strong feelings about. Creating such work is an active, multi-sensory and profoundly challenging experience that can offer students the chance to master multi-media skills as well as apply theoretical understandings of the histories and geographies of place. Author Recommends 1.,Perks, R., and Thomson, A. (2006). The oral history reader, 2nd ed. London: Routledge. This is a wonderful collection of significant writing concerned with oral history. Part IV, Making Histories features much of interest, including a thought-provoking paper on the challenges of authoring in sound rather than print by Charles Hardy III, and a moving interview with Graeme Miller, the artist who created the Linked walk mentioned in the memoryscape article. These only feature in the second edition. 2.,Cresswell, T. (2004). Place: a short introduction. Oxford, UK: Blackwell. A refreshingly clear and well-written guide to the different theoretical takes on what makes places , a good starting point for further reading. 3.,Carlyle, A. (ed.). (2008). Autumn leaves: sound and the environment in artistic practice. Paris, France: Double Entendre. This is a collection of short essays and examples of located sonic media art; it includes interviews with practitioners and includes Hildegard Westekamp's Soundwalking, a practical guide to leading students on a mute walk. Lots of thought provoking, applied reading material for students here. 4.,Blunt, A., et al. (eds) (2003). Cultural geography in practice. London: Arnold. A great book for undergraduate and postgraduate students , concepts explained and lots of examples of actually doing cultural geography. The chapter on mapping worlds by David Pinder is particularly useful in this context. 5.,Pinder, D. (2001). Ghostly footsteps: voices, memories and walks in the city. Ecumene 8 (1), pp. 1,19. This article is a thoughtful analysis of a Janet Cardiff sound walk in Whitechapel, East London. Online Materials http://www.memoryscape.org.uk This is my project website, which features two online trails, Dockers which explores Greenwich and the memories of the London Docks that are archived in the Museum of London, and Drifting which is a rather strange experiment-combining physical geography and oral history along the Thames at Hampton Court, but still makes for an interesting trail. Audio, maps and trails can be downloaded for free, so students with phones or iPods can try the trails if you are within reach of Surrey or London. The site features an online version, with sound-accompanying photographs of the location. http://www.portsofcall.org.uk This website has three more trails here, this time of the communities surrounding the Royal Docks in East London. The scenery here is very dramatic and anyone interested in the regeneration of East London and its impact on local communities will find these trails interesting. Like Dockers, the walks feature a lot of rare archive interviews. This project involved a great deal of community interaction and participation as I experimented with trying to get people involved with the trail-making process. The site uses Google maps for online delivery. http://www.soundwalk.com This New York-based firm creates exceptionally high-quality soundwalks, and they are well worth the money. They started by producing trails for different districts of New York (I recommend the Bronx Graffiti trail) and have recently made trails for other cities, like Paris and Varanassi in India. http://www.mscapers.com This website is run by Hewlett Packard, which has a long history of research and development in located media applications. They currently give free licence to use their mscape software which is a relatively easy to learn way of creating global positioning system-triggered content. The big problem is that you have to have a pricey phone or personal digital assistant to run the software, which makes group work prohibitively expensive. But equipment prices are coming down and with the new generations of mobile phones developers believe that the time when the player technology is ubiquitous might be near. And if you ask nicely HP will lend out sets of equipment for teaching or events , fantastic if you are working within reach of Bristol. See also http://www.createascape.org.uk/ which has advice and examples of how mscape software has been used for teaching children. Sample Syllabus public geography: making memoryscapes This course unit could be adapted to different disciplines, or offered as a multidisciplinary unit to students from different disciplines. It gives students a grounding in several multi-media techniques and may require support/tuition from technical staff. 1.,Introduction What is a located mediascape, now and in the future? Use examples from resources above. 2.,Cultural geographies of site-specific art and sound Theories of place; experiments in mapping and site-specific performance. 3.,Walk activity: Westergard Hildekamp , sound walk, or one of the trails mentioned above The best way , and perhaps the only way , to really appreciate located media is to try one in the location they have been designed to be experienced. I would strongly advise any teaching in this field to include outdoor, on-site experiences. Even if you are out of reach of a mediascape experience, taking students on a sound walk can happen anywhere. See Autumn Leaves reference above. 4.,Researching local history An introduction to discovering historical information about places could be held at a local archive and a talk given by the archivist. 5.,Creating located multimedia using Google maps/Google earth A practical exercise-based session going through the basics of navigating Google maps, creating points and routes, and how to link pictures and sound files. 6.,Recording sound and oral history interviews A practical introduction to the techniques of qualitative interviewing and sound recording. There are lots of useful online guides to oral history recording, for example, an online oral history primer http://www.nebraskahistory.org/lib-arch/research/audiovis/oral_history/index.htm; a more in depth guide to various aspects of oral history http://www.baylor.edu/oral%5fhistory/index.php?id=23566 or this simple oral history toolkit, with useful links to project in the North of England http://www.oralhistorynortheast.info/toolkit/chapter1.htm 7.,Sound editing skills Practical editing techniques including working with clips, editing sound and creating multi-track recordings. The freeware software Audacity is simple to use and there are a lot of online tutorials that cover the basics, for example, http://www.wikieducator.org/user:brentsimpson/collections/audacity_workshop 8.,Web page design and Google maps How to create a basic web page (placing pictures, text, hyperlinks, buttons) using design software (e.g. Dreamweaver). How to embed a Google map and add information points and routes. There is a great deal of online tutorials for web design, specific to the software you wish to use and Google maps can be used and embedded on websites free for non-profit use. http://maps.google.com/ 9,and 10. Individual or group project work (staff available for technical support) 11.,Presentations/reflection on practice Focus Questions 1What can sound tell us about the geographies of places? 2When you walk through a landscape, what traces of the past can be sensed? Now think about which elements of the past have been obliterated? Whose past has been silenced? Why? How could it be put back? 3Think of a personal or family story that is significant to you. In your imagination, locate the memory at a specific place. Tell a fellow student that story, and describe that place. Does it matter where it happened? How has thinking about that place made you feel? 4What happens when you present a memory of the past or a located vision of the future in a present landscape? How is this different to, say, writing about it in a book? 5Consider the area of this campus, or the streets immediately surrounding this building. Imagine this place in one of the following periods (each group picks one): ,,10,000 years ago ,,500 years ago ,,100 years ago ,,40 years ago ,,last Thursday ,,50 years time What sounds, voices, stories or images could help convey your interpretation of this place at that time? What would the visitor hear or see today at different points on a trail? Sketch out an outline map of a located media trail, and annotate with what you hear/see/sense at different places. Project Idea small group project: creating a located mediascape Each small group must create a located media experience, reflecting an aspect of the history/geography/culture of an area of their choosing, using the knowledge that they have acquired over the course of the semester. The experience may be as creative and imaginative as you wish, and may explore the past, present or future , or elements of each. Each group must: ,,identify an area of interest ,,research an aspect of the area of the groups choosing; this may involve visiting local archives, libraries, discussing the idea with local people, physically exploring the area ,,take photographs, video or decide on imagery (if necessary) ,,record sound, conduct interviews or script and record narration ,,design a route or matrix of media points The final project must be presented on a website, may embed Google maps, and a presentation created to allow the class to experience the mediascape (either in the classroom or on location, if convenient). The website should include a brief theoretical and methodological explanation of the basis of their interpretation. If the group cannot be supported with tuition and support in basic website design or using Google mapping with sound and imagery, a paper map with locations and a CD containing sound files/images might be submitted instead. For examples of web projects created by masters degree students of cultural geography at Royal Holloway (not all sound based) see http://www.gg.rhul.ac.uk/MA/web-projects.html [source] The diagnosis and management of haemorrhoidal disease from a global perspectiveALIMENTARY PHARMACOLOGY & THERAPEUTICS, Issue 2010L. ABRAMOWITZ Summary Background, A treatment approach for patients with haemorrhoidal disease and other anal disease, which includes the use of topical corticosteroids and other topical combination products, is widely accepted, but little has been published to compare such treatments. This publication is a valuable collection of reading material for gastroenterologists, proctologists, general practitioners, dermatologists and other clinicians who are responsible for diagnosing and managing patients with haemorrhoidal disease. Aims, To review and collect existing treatment approaches for haemorrhoidal disease, by reviewing global experience from clinicians that will contribute towards improving best practice in the management of patients. Methods, The articles include overviews of haemorrhoidal disease, differential diagnosis, topical treatment and surgical practices and patient outcomes. Case studies further reinforce treatments from individual specialists. Results, The articles between them address the classification of haemorrhoids, dermatological differential diagnoses of anal and perianal disease, and the therapeutic management of different haemorrhoidal diseases including invasive surgical and non-invasive topical combination treatments. The case studies indicate the positive impact of appropriate treatment in everyday clinical practice. Conclusion, This publication will reinforce best practice in the causative and symptomatic treatment of haemorrhoidal disease. Aliment Pharmacol Ther,31 (Suppl. 1), 1,58 [source] Monuments and Texts: Antiquarianism and the Beauty of AntiquityART HISTORY, Issue 4 2002Maria Grazia Lolla Maria Grazia Lolla has published articles in English and Italian on various aspects of antiquarianism, aesthetics and eighteenth,century culture, as well as on Caribbean poetry and literature. She received her PhD from the University of Cambridge, has been awarded fellowships from the British Council and the Italian Ministry of Foreign Affairs, and has held research fellowships at the Wesleyan University Center for the Humanities and the Huntington Library. Now at work on Rivers Unknown to Song: Antiquarian Explorations of the East and West Indies, she is an adjunct professor at New York University. From the beginning of the Renaissance antiquaries had been publishing monuments at such a pace that publishing as much as collecting or studying monuments could be counted amongst the defining features of antiquarianism. However widely and routinely practised, the publication of monuments revealed substantial divisions within the world of antiquarianism. Antiquaries were faced with the choice of either textualizing monuments , turning monuments from visual or tactile objects into reading material , or attempting to reproduce their materiality , even if the monument was a text. The paper analyses Johann Joachim Winckelmann's Monumenti antichi inediti (1767) as a significant example of the former and the discussion concerning the publication of Domesday Book that took place in the rooms of the London Society of Antiquaries in 1768 as a compelling example of the latter. Juxtaposed to one another, Monumenti antichi inediti and the projected facsimile of the Domesday Book provide mutually revealing accounts of the aesthetic and intellectual complexities of eighteenth,century antiquarian practice. Where Winckelmann patently sought to rid monuments of their materiality in an effort, perhaps, to nobilitate antiquarianism , while nevertheless keeping it in a suitably ancillary position to literature , the fellows of the Society of Antiquaries chose the facsimile as the vehicle of preservation and transmission best suited to conveying their admiration of texts as material objects, indeed, as non,representational art. As necessarily (and self,consciously) imperfect attempts to reproduce original monuments, facsimiles provide both a marker of deep scepticism about the possibility of ever really knowing the past and a precious trace of past versions of the past , of what could be seen and deemed worthy of preservation, scholarly investigation and aesthetic appreciation. [source] Eye movements in German-speaking children with and without dyslexia when reading aloudACTA OPHTHALMOLOGICA, Issue 6 2010Susanne Trauzettel-Klosinski Acta Ophthalmol. 2010: 88: 681,691 Abstract. Purpose:, The phonological difficulty and orthographic regularity of a language influence reading strategies. Only a few studies have been conducted in readers of German, which has a high grapheme,phoneme correspondence. The aim of this study was to investigate, firstly, the influence of different levels of phonological difficulty of reading material in German on reading in children and, secondly, to compare the reading strategies of German children with findings in English-speaking readers. Methods:, Eye movements in 16 German children with dyslexia and 16 age-matched control children (mean age 9.5 ± 0.35 years) in the third and fourth grades of school were recorded by scanning laser ophthalmoscope while they read aloud two texts of differing levels of difficulty. Results:, In the dyslexia group, reading speed was slowed, and the number of saccades and regressions was raised markedly, although the percentage of regressions only slightly. The number of eye movements increased in both groups with increasing text difficulty, although much more in the dyslexia group than in the control group, whereas fixation duration was not influenced. Conclusions:, Phonological difficulty influences reading speed and eye movement pattern: children with dyslexia markedly increase their number of eye movements and analyse the text in smaller units per fixation, but keep fixation duration constant. This strategy reflects their favouring of the indirect, sublexical route of grapheme,phoneme conversion, whereas readers of English-language texts are more likely to prefer the whole-word approach, i.e. the direct, lexical route that is associated with orthographic memory. [source] Designs of concept maps and their impacts on readers' performance in memory and reasoning while readingJOURNAL OF RESEARCH IN READING, Issue 2 2010Jeng-Yi Tzeng From the perspective of the Fuzzy Trace Theory, this study investigated the impacts of concept maps with two strategic orientations (comprehensive and thematic representations) on readers' performance of cognitive operations (such as perception, verbatim memory, gist reasoning and syntheses) while the readers were reading two history articles that argue from different perspectives about a historical incident that had a profound impact on Taiwan. The results show that the design and focus of the concept maps may influence the formation of mental representations, and that this may be facilitative or constraining in regard to the readers' memory formation and reasoning about the reading materials. Based on these findings, the meaning of constraining effects of concept maps is discussed, and an instructional method involving the progressive elaboration of concept map systems is recommended. [source] The impact of a collaborative family/school reading programme on student reading rateJOURNAL OF RESEARCH IN READING, Issue 1 2002Lisa Kelly-Vance Student reading skills are below grade level in many schools and professionals are constantly searching for new ideas to enhance reading curricula. To address this problem in one elementary school, a parent/school reading programme was implemented. Parents were encouraged to increase the amount of time spent reading with their children at home and the school provided easily accessible reading materials, suggestions for encouraging reading at home, prizes and special activities. Programme participants demonstrated a higher increase in reading rate and accuracy than the matched peers. Prior to implementation and at the end of the reading programme, parents and students who chose to participate in the programme reported positive attitudes toward reading together. Implications of these results are discussed and an emphasis is placed on expanding research in the area. [source] The use of illustrations when learning to read: A cognitive load theory approachAPPLIED COGNITIVE PSYCHOLOGY, Issue 5 2010Susannah Torcasio Three experiments were conducted to investigate the effects of including illustrations in beginning reading materials. Experiment 1 compared reading materials consisting solely of simple prose passages with materials consisting of the same passages plus informative illustrations depicting the content of each passage. Reading proficiency improved more under the no illustrations condition. Experiment 2 compared the informative illustrations with uninformative illustrations. Reading proficiency improved more using uninformative illustrations. Experiment 3 compared uninformative illustrations with no illustrations and found no significant differences between conditions. These results were interpreted within a cognitive load theory framework. It was concluded that informative illustrations are redundant and so impose an extraneous working memory load that interferes with learning to read. Copyright © 2009 John Wiley & Sons, Ltd. This article was published online on 8th April 2009. An error was subsequently identified. This notice is included in the online and print versions to indicate that both have been corrected [3 July 2009]. [source] | ||||||||||||||||