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Using context clues to figure out new words | Reading | Khan Academy

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Determining the meaning of unfamiliar words as you read

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How to analyse a poem you have never seen before

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To make the tone casual or informal and often shows the author is writing to a younger audience.

Using difficult or scientific language in the text.

To make the writing sound educational and knowledge so reader will notice of what it says and take it seriously.

Personal pronouns

Mostly used in oral presentations/speeches or autobiographical writing.

I want you to think about what I'm about to say.

First person allows the author to involve the reader by appealing to their emotions.

Second person challenges them to respond to the ideas of the author.

We all know violence is wrong.

You can make up your own mind.

first person and second person

The playground was as empty as a ghost town

This gives the person, animal or thing being described characteristics of something else so the reader sees these things in a new light.

Repeating the same or similar words/lines for effect.

To emphasise what is being said to show to give the words or idea more importance.

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To make the tone casual or informal and often shows the author is writing to a younger audience. Using difficult or scientific language in the text. To make the writing sound educational and knowledge so reader will notice of what it says and take it seriously.

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Reading practice to help you understand long, complex texts about a wide variety of topics, some of which may be unfamiliar. Texts include specialised articles, biographies and summaries.

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Recently, the author Tom Palmer sent me a copy of his latest book Wings: Typhoon. It's a great read aimed at 8 to 10 year olds and is a stereotype-breaking brew of the supernatural, football, fighter jets and the relationship between two sisters. But before I knew all of that I was intrigued to find that the covers of the book extend to contain a cut-out-and-make Typhoon aeroplane model. Is this a gimmick, or is there something more to it?

One of the complaints about the 2016 Key Stage 2 SATs reading paper was that many children would not be able to relate to or understand the contexts of the narratives that were used; certainly none of the children I taught last year have rowed a boat to an island or ridden an albino giraffe across the Savannah. I wrote a lot about this issue in this blog post and concluded that " stories are the means by which we experience events and happenings that our everyday lives could not possibly provide" and therefore we should be exposing children to narratives with unfamiliar contexts.

So, as teachers (and parents too, if you're reading this), we must ask ourselves how we can make these texts more accessible to children. Importantly, we want them to get the maximum enjoyment out of the books they read, and without understanding what you are reading it's hard to enjoy it.

And that's where Tom Palmer's book comes in. Imagine reading about a Typhoon fighter jet when you have no idea what one looks like. A child might imagine something more akin to a Boeing 747 - a more typical plane for a child to visualise; they are more common and more present in other contexts. The more inquisitive child these days would probably Google an image of a Typhoon in an instant, but many wouldn't and some couldn't. So it's ideal that before reading the book (or during) a child could construct a 3D model of the jet in question, thus enabling them to easily visualise a key object in the story. Without giving too much away, if a child were imagining a passenger plane whilst reading the story, they'd be a bit confused as to how on earth some of the action could take place!

Many moons ago someone hit on a bit of a genius idea by which readers are granted better access to the texts they read: illustrations. As I finished reading 'The Lion, the Witch and the Wardrobe' I reflected on the role of its illustrations: they clarify to the reader the appearance of the mythical beasts described (beautifully) in the text. The illustrations in 'Wings: Typhoon' are excellent too - their two-tone comic book style really help to convey action as well as appearance. It's quite obvious why we start children on their reading journey with books dominated by pictures but it's a shame that by the time they reach the age of 11 they are expected to read challenging and diverse texts totally unsupported by images.

One of the key hindrances to comprehension is vocabulary. If a child does not know what the word 'creek' refers to then this sentence is less illuminating than it could be: 'In those days, far south in Calormen on a little creek of the sea, there lived a poor fisherman named Arsheesh...'. A child might wonder how someone could live on the sound that a door makes when it needs oiling, or they might imagine a creek to be something quite different to a little inlet or bay. And even if you then used those terms to describe it to a child you may have to then define the words 'inlet' and 'bay'. If at word level there is little understanding, there is no hope for sentence, paragraph or whole text level comprehension. Whether one is looking to retrieve information or infer it, a good grasp of vocabulary is needed.

Back to our question: how can we make these texts (particularly ones without pictures whose contexts are outside of the experience of the children we teach) more accessible to children?

A list (not exhaustive) containing the most obvious ideas, and some more creative ones too:

1. Use images - photographs, drawings, paintings, stills, illustrations from other books, 3D models. If using a text in class, pre-read the intended portion and collect images (particularly of nouns) to support and enhance a child's visualisation and understanding. This goes a long way to bringing a child into the realms of a book - even one set in a basic setting, such as a seaside town where quays and harbours, lobster pots and yachts might be alien objects to some of the children we teach. Just because a children's book is not illustrated, it doesn't mean we shouldn't provide those images ourselves.

2. Use film - archive footage, movies, documentaries, news stories. I would make a similar point here to the one made above regarding images. In addition, film has the power to convey more than appearance, moving beyond into action and sounds too - film can provide a very immersive experience which stimulates more senses than an image can. Because of this, film moves beyond supporting just word and sentence level comprehension, giving a sense of the bigger picture. For example, newsreel footage of children being evacuated helps modern-day children to understand the beginnings of 'Carrie's War', 'The Lion, the Witch and the Wardrobe' or 'Goodnight Mr. Tom', not to mention the movie versions of those books.

3. Use other texts - books (both non-fiction and fiction), newspaper or magazine articles, webpages. In 'Reading Reconsidered' Lemov et al suggest that when texts are paired (ie a non-fiction text about the holocaust paired with 'The Boy In The Striped Pyjamas) children better comprehend the novel and they also absorb more of the supporting nonfiction text (Chapter 3: Reading Nonfiction, and the Challenge of Background Knowledge). When considering paired texts it does not always need to be a fiction and a non-fiction; you might choose a graphic novel or a picture book to support a novel, a diary entry to support a non-fiction text - the combinations are limitless but the main point is that other texts can help children learn the context needed to full access another text. It is also worth considering how linked topic work in a cross-curricular approach can really support children's comprehension - choose your novels to fit with your science, history or geography curriculum and use those lessons in part to provide background knowledge for the narratives you are reading.

4. Use drama and real-life experience - act out movements to help children understand new verbs and adverbs, pull faces to show how characters are feeling, go on museum visits to see recreations of story settings and historical artefacts, go on trips to old mills, little villages, steam railways, the countryside, the coast... make the stories come as alive as you possibly can by giving children the experiences that will help them to engage more deeply in a text. Perhaps you can't visit an entirely fictional solar system, but booking a StarDome portable planetarium to begin read your new sci-fi novel in isn't a bad idea (especially if your Science work ties in). Even slightly dramatising the way you read aloud can have an impact - do the voices, pay attention to your dynamics and tone, make gestures to mirror the characters' actions - there is a lot that can be done beyond sitting in a chair and speaking aloud words on a page.

5. Use dictionaries - if vocabulary is a key to understanding new contexts, then dictionary work is a fairly obvious inclusion. Once the words have been looked up and defined there are plenty of follow-up activities that could aid children in their understanding of a whole text: rewrite a line of this poem in your own words to explain what it means, draw the setting that the author is describing, discussions as to why the author has chosen the particular word rather than on of its synonyms or basic written answers to comprehension questions. It may be that prior to using dictionaries, children could write their own definitions of words they don't know using contextual or morphemic analysis (both key word learning strategies - but that's for another blog post altogether!) and then compare their definition to the real one. Those are just a few ideas and there is much more to be said on the subject of teaching vocabulary.

If we regularly built opportunities like these into our teaching sequences then we would be helping children to connect with and better understand the novels they are reading. The more you understand what you read, the more likely you are to enjoy it and the more you enjoy books, the more you want to read. The Matthew Effect says that the rich get richer - if we can make our children rich in reading skills then they will go on to become richer, even without our ongoing instruction. Even if our children have never been stranded on a desert island, trapped in an apocalyptic landscape or hunted by nightmare creatures, we can use the strategies above to bring books and children closer together to place where unfamiliar contexts become places of new experience and learning.

Having said all this, Anne Kispal's 'Effective Teaching of Inference Skills for Reading', on page 35, states that ' The research conducted by Barnes et al. (1996) and Cain et al. (2001) suggests that knowledge acquired just prior to reading is not as useful for inferencing as that which is well embedded in the reader's long-term schemata. Cain et al. arrived at the conclusion that ...even when they had the requisite knowledge base from which to generate an inference, the less skilled comprehenders did not make these inferences as readily as their skilled peers did. Knowledge availability is therefore not a sufficient condition for inferencing (p. 857).'So it remains that we cannot expect to provide the above experiences in isolation or even just in relation to particular texts, but that we should always be seeking to expand the knowledge-base of our pupils, making links where possible, if we want them to become better when it comes to comprehending a text.

A version of this article was published on the TES blog on 19th April 2017. Click here to read it: https://www.tes.com/news/school-news/breaking-views/five-ways-make-books-unfamiliar-contexts-accessible

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5 Ways To Make Texts With Unfamiliar Contexts More Accessible To Children

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Recently, the author Tom Palmer sent me a copy of his latest book Wings: Typhoon. It's a great read aimed at 8 to 10 year olds and is a stereotype-breaking brew of the supernatural, football, fighter jets and the relationship between two sisters.

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"At Level 2, to ANALYSE means to describe HOW impact was created and to explain WHY. It is about showing that you understand the message of a text by analysing how it was communicated, its intended audience and purpose." Mrs Mitchell

"At Level 3, to CRITICALLY ANALYSE means to understand the analysis and then to step outside of it to question its assumptions." Mrs Mitchell

Welcome to exciting journeys into the world of unfamiliar texts, or as I like to call them, First Joy texts! After all, you are meeting these brand new ideas for the first time and it can be a wonderful thing!

MAPST - Your guide to excellence!

MAPST is here to help you find your way into a new text. It is the system for understanding the MEANING of the text, the AUDIENCE for the text, the PURPOSE of the writer and how the SETTING/STRUCTURE/STYLE might influence the way we understand the piece. Lastly, TECHNIQUES will help us find how the writer has been able to communicate the MEANING to the AUDIENCE for a PURPOSE in a SETTING/STRUCTURE/STYLE.

M - Meaning/Message

What? What is being said? There are 3 levels of meaning. LOOK at 1. On the lines (What is presented literally - on the surface); 2. Between the lines (What ideas bubble up from between the literal?); 3. Beyond the lines (How do these found ideas relate to the wider world or the human experience?).

A - Audience

Who? Who is being appealed to? Who will care about this message?

P - Purpose

Why? Why is the writer bothering to present us with this message/idea?

S - Setting/Structure/Style

How does where/when it is set affect meaning? How does the structuring of the words affect our understanding of the meaning? How does its style affect meaning?

T - Technique

How? What techniques has the writer used to communicate the meaning, to the audience, for a purpose?

Once you have found your way into the text, write about it using STEEPEL.

STEEPEL - Points you to excellent answers!

S - Statement: Re-write the question as a statement that answers the question.

T - Technique: Identify the technique to be discussed.

E - Example: Quote the technique in action in the text.

E - Effect: Explain how the use of that technique creates an effect.

P - Purpose: Explain why the writer wanted to create that effect.

E - Extension: Critically evaluate the effectiveness of the technique's use you have described. Link this example to the text as a whole. Link it to the wider world. Link it to the human condition or experience. Critically evaluate the conclusions drawn - challenge assumptions, add examples or counter examples, build your argument.

L - Link: Link your findings back to the question.

What's the "effect"?

This is where MAPST comes in handy! The effect will have something to do with the type of meaning the writer is trying to communicate. The mechanics of the words are being used to build ideas. MAPST helps you understand those mechanics. Effect might be to establish mood, tone, message, idea, atmosphere, etc. The effect being created is closely linked to purpose - the writer is creating the effect to fulfill their purposes.

Introduction to Poetry
Billy Collins
Find the following document here:

Language features and their effects

to understand the ways in which writers gain impact in their writing

to use various features in your own writing (creative and transactional, as well as for your oral presentations) in order to craft your writing and gain impact

to help you achieve unit standards which require you to explore language and think critically about poetic / transactional / oral texts

Repetition of the same consonant sound at the beginning of words - usually close in succession.

Vowel sounds are repeated at the beginning or middle of nearby words.

Makes small sections of the text hang together and flow better. Draws our attention to this phrase. Repetition of vowels generally gives a soft, quiet, calm mood unless the sounds are the short vowels, eg in

A group of sounds is repeated throughout a sentence or a group of lines in a poem, not just at the beginnings of words.

These create a "wall of sound" with a number of repeated sounds, not just one type. They usually create a particular by using a number of hard or soft sounds, rather than a combination of the two.

Words sound like the sounds they name.

This helps us hear the actual sound being named and therefore we understand it properly or it transports us to the place of the sound.

Repeating three times a group of words which have the same pattern of word classes. Each group may or may not start with the same word/s.

...that government of the people, by the people, for the people shall not perish from the face of the earth. Then leaf subsides to leaf, So dawn goes down to day...

Same as for parallelism, but the triplet provides closure or finality along with that sense of balance.

An image which gives human qualities to non-human things.

In addition to the above, personification makes inanimate objects seem lively and lifelike while it also contributes to our sense of oneness with these inanimate objects.

Using more unusual or specialized or technical words

Sometimes, more unusual words provide more specific meaning than common ones. Specialized or technical words make it seem like the writer/speaker really knows the topic.

Generally used in direct speech but may also be used in autobiography for particular effect.

Creates an image of the character - helps to define personality and place him/her in a particular educational or social class. Provides authenticity in your writing.

An advert for an omega-3 margarine has this statement: The way to a man's heart is through his stomach. This gives new meaning to an old figurative phrase which involved romance rather than health.

Provokes amusement and therefore a tendency for the reader to feel good about the company / product and possibly to buy the product. If used by a character, shows that that character is rather clever and witty.

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"At Level 2, to ANALYSE means to describe HOW impact was created and to explain WHY. It is about showing that you understand the message of a text by analysing how it was communicated, its intended audience and purpose."

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About - Explain what the poem is about.
Repeated - Identify repeated ideas or themes presented in the poem
Tone - What mood is created by the poem? The sound of the letters within each word will create a definite mood. Can you name and describe it? Can you explain this in your writing
Words- Identify key words that are used in the poem and think about their deeper meaning
Alliteration - Look for alliteration and assonance in the poem. Does this draw your attention to anything in particular?
Rhyme and rhythm - Study the rhymes and the beat that the poem uses. How does this enhance the meaning?
Structure - Look at the way the ideas are presented or the look of the poem on the page

A deeper reading of any text should identify some areas where you can identify a symbolic association. Once you have identified this, then you need to think of as many different meanings as you can to give you a framework to explain the writer's meaning.
The following examples are provided to help you?

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About - Explain what the poem is about. Repeated - Identify repeated ideas or themes presented in the poem Tone - What mood is created by the poem? The sound of the letters within each word will create a definite mood. Can you name and describe it?

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Learn how to get Excellence in 'Unfamiliar Text' with this free course on how to ace your exam. You'll learn about literary devices, how to write an essay answer, and what the markers are really looking for. You'll also learn how to improve your writing skills, so you can get better grades - in all your subjects!

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For NCEA English teachers in New Zealand - a way to frame students' thinking about unpacking the meaning in unfamiliar texts.

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FLIPPED CLASSROOM EDUCATION SOLUTIONS LTD

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FLIPPED CLASSROOM EDUCATION SOLUTIONS LTD

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David Schaumann is a member of Vimeo, the home for high quality videos and the people who love them.

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RAZORWEB.co.nz, web design for New Zealand businesses at affordable prices.

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Getting Familiar with the Unfamiliar 2: Understanding Unfamiliar Text Through Close Reading NCEA Level 2

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Publisher: Nelson Cengage Authors: Kathryn Fitzgerald and Tania Roxborogh Published: 2018 Pages: 128 Description: Getting Familiar with the Unfamiliar Level 2 is an easy-to-follow workbook that will prepare students for tackling this exam at the end of the year. Once students have completed the workbook they will be able to read any text they encounter with confidence and write thoughtful responses.

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Thinking about Text Forms Look for techniques including:
Listing Imperative Interrogative Hyperbole Anecdote

Pronoun Adjective Adverb Preposition Time connector

Simile Metaphor Personification Alliteration Onomatopoeia
verses Look for techniques including:
Simile Metaphor Personification Onomatopoeia

Assonance Alliteration Sibilance Rhyme

Remember you need to know which techniques are VERBAL and which are VISUAL as you will likely be asked about BOTH! Read the questions carefully looking for these key words
Look for techniques including: VERBAL
Pronouns Adjectives Adverbs Hyperbole
VISUAL Thinking about approaching Unfamiliar Text in the exam

Read the text

Ensure you understand the text - what is it about?

Re-read the text until you are sure you understand it

Ascertain what text form it is and recall the types of text features used with that text form - feel free to label, highlight, write all over your resource booklet

What is the purpose of the text? What techniques are used within the text to meet this purpose?

What do you notice about the style of the piece (structure [how it has been put together - order of events, paragraphing, sentences], point of view narration [who is telling the story], language techniques, tone and mood

Reread the text and locate the answers. Remember to consider the text as a whole

Remember that (a) Identify... asks you to locate information in the text, (b) Explain why... asks you to think about the meaning of that information within a short passage of text and (c) Explain how... asks you to appreciate the text as a whole which is where TAPS will really help you

When answering the (b) and (c) questions ensure you TEE your answer:

name the Technique and give the definition of the technique. The poet has used the technique of metaphor. A metaphor compares two dissimilar things to build an image for the reader

give the Example (underline the exact words) and explain how the technique is working within the example. In the metaphor "They'd be a delicacy" the poet is comparing the children to fine food

the effect of the technique and example within the text. This metaphor helps us to join in the children's game and gives us the dragon's perspective of the children as food he will enjoy devouring. It makes us remember what it was like to be a child and part of the games created in playgrounds
PRACTISE!!! PRACTICE MATERIALS
Make sure you have a practise - practise makes perfect ;-) Here is last year's school exam paper of Unfamiliar Texts with the marking schedule for you to check what is expected.
Please remember that you will receive a prose, poetic and visual text. Prior to 2008 they were also given an oral text but this has since been removed from the paper. 2007 School Exam Paper 90057 Resource Bk (b&w) 07.pdf 90057 Teacher-Answer 07.pdf 2008 School Exam Paper 90057 Resource Bk (Clr) 08.pdf 90057 Teacher-Answer 08.pdf 2009 School Exam Paper 90057 Resource Bk (Clr) 09.pdf 90057 Teacher-Answer 09.pdf 2007 NCEA 2008 NCEA Unfamiliar Text (Page One is 2007 Prose).pdf 2007 NCEA Unfamiliar Text Poetic and Visual Language.pdf 90057-exm-07.pdf 2008 NCEA 2008 NCEA Unfamiliar Text (Page One is 2007 Prose).pdf 90057-exm-08.pdf STUDY IT
Make sure you check out this website. This link takes you directly to the Unfamiliar Texts information. It includes the achievement standards so you can refresh your memory on what it takes to gain excellence! There are also tips from last year and practise assessments.
http://www.studyit.org.nz/subjects/english/english1/6/
As part of Unfamiliar Texts it is important that we build up our vocabulary bank! Check out http://savethewords.org/ for interesting words that are being dropped as the years go on! Come on, adopt a word, you know you want to!

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Thinking about Text Forms Look for techniques including: Listing Imperative Interrogative Hyperbole Anecdote Pronoun Adjective Adverb Preposition Time connector Simile Metaphor Personification Alliteration Onomatopoeia verses Look for techniques including: Simile Metaphor Personification Onomatopoeia Assonance Alliteration Sibilance Rhyme Remember you need to know which techniques are VERBAL and which are VISUAL as you will likely be asked about BOTH!

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Achievement English @ Year 11 Close Reading of Unfamiliar Text - 9780170264907 | Secondary | Cengage Australia

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The ability to understand and analyse text is a key skill in the study of English and for many students success in the externally assessed close reading Achieve

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Flashcards - Good

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The security system for this website has been triggered. Completing the challenge below proves you are a human and gives you temporary access.

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senior english: year 12 revision materials

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Senior English: Year 12 Revision Materials

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Year 12 students will find useful resources outlining the external standards, essay writing, student exemplars, and helpful links

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Based on our well-known Level 1 English Learning Workbook, this book covers the externally assessed Level 1 English Achievement Standard 1.3 (90851).

It features brief notes, clear explanations, numerous worked examples and relevant exercises with answers. Use to support classroom work, to help with external assessments and to revise for end-of-year exams.

Published: 09/2016
View contents page View a sample
Level 1 Single English AS

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Level 1 Unfamiliar Texts 1.3 Learning Workbook

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Covers the internally assessed Level 1 English Achievement Standard 1.1 (90849). It features brief notes, clear explanations, numerous worked examples and relevant exercises with answers. Use throughout the year to support classroom work, to help with internal assessments and to revise for end-of-year exams.

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AS 90851: Show understanding of significant aspects of unfamiliar text(s) through close reading, using supporting evidence. 4 Credits. External

The Unfamiliar Texts paper is one that assesses your ability to read and understand unfamiliar given passages. You will be provided with three written texts, of different types, and asked to explain how the author communicates their ideas/experiences/feelings.

Below you can find a whole set of exemplar material. You should attempt the sample paper (the resource booklet is provided) and then have a look at the excellence exemplar and answer rubric to evaluate your response. You are most welcome to give your practice papers to me to assess as well.
Download (PDF, 239KB)
Practise Paper
Download (PDF, 957KB)
Practise Paper: Resource Booklet
Download (PDF, 958KB)
Resource Booklet for the 2015 Paper
Download (PDF, 951KB)
Excellence Exemplar
Download (PDF, 103KB)
Answer Rubric
Download (PDF, 59KB)
Glossary of Language Features

Posted by Christopher Waugh

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AS 90851: Show understanding of significant aspects of unfamiliar text(s) through close reading, using supporting evidence. 4 Credits. External The Unfamiliar Texts paper is one that assesses your ability to read and understand unfamiliar given passages. You will be provided with three written texts, of different types, and asked to explain how the author communicates their ideas/experiences/feelings.

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Welcome to Unfamiliar Texts. This is where you develop reading and analytical skills to be able to confidently approach a text you have not read before and be able to pinpoint the key ideas in the text, how language is being used by its author and allow you to evaluate how reliable the text is. As you will be surrounded by texts your entire lives (unless you're planning on moving into a cave once you finish school) this is a crucial skill to develop early and that is why there will be a second test later on in the year. Think about, every day you may read the following: novels, magazines, the newspaper, billboards, advertising, product packaging, facebook comments and updates, txts, blogs, opinions, facts, wikipedia, emails, letters, postcards, reports and the list goes on. You will also view and listen to non-fiction and fiction texts, too. The ability to understand increasingly more complex texts and approach what you read, view and hear critically will give you an advantage in all areas of you life.

Your first Unfamiliar Texts test is on Thursday, the 22nd of March!

You need to be studying all of the week of the test. We will be sitting a practise test throughout the week. You should take your orange book home and the revision sheet I've created. Also, I have uploaded onto this page a set of practise tests to prepare you for the real one, as well as various materials that we have used in our study this term. By making use of all of this you should be well prepared for the test. The test will contain three sections.

1. Grammar, accuracy, proof-reading.

2. Unfamiliar texts - poetry

3. Unfamiliar texts - prose

You may also like to look at this site: www.studyblue.com. It is free to sign up and allows you to create virtual, online flashcards. I used it when I was learning Māori last year. It is great for helping you remember defintions and examples so will be perfet for revising parts of speech and poetic language techniques.

Useful websites to develop your grammar and proof-reading skills are:

There are a list of practise tests and helpful resources below.

The practise tests from easiest to most difficult are in this order: Prince Caspian, Carry On, Little Boy Crying, Teenage Sky, On Turning 10.

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Unfamiliar Texts - English Rocks with Mr. Lee

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Welcome to Unfamiliar Texts. This is where you develop reading and analytical skills to be able to confidently approach a text you have not read before and be able to pinpoint the key ideas in the text, how language is being used by its author and allow you to evaluate how reliable the text is.

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language techniques used for unfamiliar text glossary

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Language Techniques used for Unfamiliar Text Glossary

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Colloquial language is language that is informal. This can include words as well as phrases. You might use colloquial language when messaging your friends but not in a formal situation such as writing a letter to a business.

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How to GET E8 in NCEA Unfamiliar Texts in 90 SECONDS | StudyTime NZ

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Unfamiliar Text Cheat Sheet - NCEA Level 2 - StudyTime NZ

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Unfamiliar Texts Cheat Sheet - NCEA Level 1 English - StudyTime NZ

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Unfamiliar Texts | NCEA Level 3 Strategy Video | StudyTime NZ

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Unfamiliar Texts | NCEA Level 2 English Strategy Videos | StudyTime NZ

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Unfamiliar Texts | NCEA Level 1 English Strategy Video | StudyTime NZ