# data[].attributes.body
Analyse af person og plot + læselog
fra Folkeskolen af Mark Thornberg

# data[].attributes.attachment_link.readable_text
Blog
Abonner på nyt om Loops i undervisningen (LIUV) i dit personlige nyhedsbrev.

Et onlineforløb med context-based grammar

Formålet med forløbet er at tilbyde undervisere, elever og studerende en model, der kan give lidt pusterum og fleksibilitet i arbejdet og måske endda aflaste nogle af de undervisningsplatforme, som flere steder er hårdt pressede på grund af situationen med Covid-19. Fokus er på elevernes sproglige og analytiske kompetencer samt at udfordre nogle af de sociale.

Forløbet er tilrettelagt ud fra en organiseret deling af dokumenter, hvor underviseren deler sit dokument med eleverne. Her har de ikke ret til at redigere, men alle kan og skal se, hvad der bliver lagt ud. Studiegrupperne samles tilsvarende om et dokument, som de deler med underviseren, som skal have ret til at redigere, så der kan tilbydes feedback.

Som materiale benyttes Patrick Ness' roman A Monster Calls. Det er en letlæselig bog, som giver et enormt udbytte i form af følelsesmæssig udvikling, dialog med sig selv og andre, erfaringslæring, gensidig respekt og appetit på videre læsning. Bogen er også publiceret i en illustreret udgave, hvor tegningerne sagtens kan bruges fx til opgaver i mundtlighed. Den er også udkommet som film på Netflix med titlen Syv minutter over midnat.

I det følgende vil jeg kort forklare logikken bag informationsarkitekturen, og hvordan den hænger sammen med de dokumenter, du kan downloade nederst i bloggen.

Artiklen fortsætter under banneret

Organiseret processkrivning

Underviseren organiserer klassen i studiegrupper, som mødes på bestemte tidspunkter med eller uden underviseren. Har man flere klasser, kan studiegrupper fx mødes med underviseren og fremlægge for hinanden under opsyn. Princip for organisering af studiegrupperne afhænger af lærerens kendskab til klassen. Man kan lave teams eller niveauinddele alt efter behov.

Reading organizer deles med de studerende, og man kan evt. vælge at gøre den del individuel, evt. sørge for at den deles med underviseren, så man kan holde øje med, hvor langt den enkelte elev er med læsningen. Man kunne evt. aftale, at eleven tilsvarende har dette dokument, uden underviser har ret til at redigere.

Eleven anfører tal eller titel på kapitel i venstre kolonne. I kolonnen Action sammenfattes handlingen i kapitlet, og i Event erstatter eleven ordet med sin egen angivelse af en vigtig begivenhed i kapitlet. Det er vigtigt, det kun er et enkelt ord. Thoughts er tænkt som den kolonne, hvor eleven kan komme med sine egne tanker om begivenheden. I kolonnen Heading erstatter eleven ordet med sin egen overskrift på det antal kapitler, som for eleven synes at hænge sammen i en enhed under den betegnelse. En overskrift må gerne være flere ord.

Sideløbende med elevens læsning og studiegruppernes arbejde med underviserens feedback, kunne fokus for klassemøderne være på de små opgaver i zip-filen Context-Based Grammar. Det er tekstuddrag fra romanen, som sættes under forskellige grammatiske lys. Man kunne fx starte med at snakke om monstrets rolle i historien, hvilken betydning det har for Conor, og så diskutere elevernes analyser af det sprog, der levendegør monstret. Måske kunne noget af den nye grammatiske viden bruges til at styrke beskrivelserne i Thoughts-kolonnen i deres Reading organizer.

Som læsningen skrider frem, kunne man bede studiegrupperne samarbejde om at lave en karakteristik. Sørg for at hver studiegruppe får en flad karakter og gem Conor til sidst. Arbejd med opgaven Word groups used to make vivid descriptions mens I snakker om karakteristik. Sørg for eleverne har grundlæggende viden om tillægsord, og bed så studiegrupperne om at udfylde en Characterization organizer i det dokument, de deler med dig.

Hvordan I sammenligner jeres Events afhænger af klassen. Er der brug for kort snor, ajourføres studiegruppes resultat med de Reading organizers, der er blevet delt. Måske skal der aftales en anden rolle-fordeling i gruppen. Kan man slippe snoren, fremlægger studiegrupperne til et klassemøde. De studiegrupper, der lytter, kan udfylde et lytteark. Her kunne man for nemhedens skyld bruge Characterization organizer en igen.

Vil man arbejde i dybden med karakteristik, kunne man bede eleverne individuelt bruge en because-sætning i deres Thoughts-kolonne, fx Lily is angry because .... Så skulle tillægsordene gerne komme af sig selv.

Hvis det er en klasse, hvor de har arbejdet med plot, kunne man prøve kræfter med Plot organizereren. Formålet er at diskutere forskellen på plot driven og character driven narratives. Igen er det meningen, de skal bruge deres Reading organizer. Den her del er svær, fordi det ikke altid er lige nemt at forstå monstrets historier.

# data[].attributes.attachment_link.title
A Monster Calls af Patrick Ness - Folkeskolen.dk

# data[].attributes.attachment_link.description
Blog Abonner på nyt om Loops i undervisningen (LIUV) i dit personlige nyhedsbrev. Et onlineforløb med context-based grammar Formålet med forløbet er at tilbyde undervisere, elever og studerende en model, der kan give lidt pusterum og fleksibilitet i arbejdet og måske endda aflaste nogle af de undervisningsplatforme, som flere steder er hårdt pressede på grund af situationen med Covid-19.

# data[].attributes.attachment_link.title
A Monster Calls Official Trailer 1 (2016) - Felicity Jones Movie

# data[].attributes.body
8. -10. klasse
fra English Caddy

# data[].attributes.attachment_link.readable_text
A workbook containing chapter-by-chapter comprehension questions and key vocabulary for the middle-grade novel A Monster Calls by Patrick Ne... See More

A workbook containing chapter-by-chapter comprehension questions and key vocabulary for the middle-grade novel A Monster Calls by Patrick Ne... See More

Connecting content to people.

# data[].attributes.attachment_link.title
Comprehension Question Companion Booklet for A Moster Calls

# data[].attributes.attachment_link.description
A workbook containing chapter-by-chapter comprehension questions and key vocabulary for the middle-grade novel A Monster Calls by Patrick Ness

# data[].attributes.body
fra Candlewick Express

# data[].attributes.body
fra Filmcentralen

# data[].attributes.attachment_link.readable_text
Author's Choice:

Provide an example of a specific choice the author made that influenced the story. How did that choice influence the story?
[For example, in "Occurrence at Owl Creek Bridge" by Ambrose Bierce, the author chose to include hints in part 3 that the main character was daydreaming. Without the details, which turned out to be hints at the daydream, the story wouldn't have been as interesting or believable.]

# data[].attributes.attachment_link.description
As we read through the stories through our unit, copy this story and follow the instructions in each box below. View this as a template that you can adapt. Start by clicking on the (...) symbol to the right under the banner and select 'Copy story' to have your own version of this template.

# data[].attributes.body
Lån klassesæt fra mitCFU

# data[].attributes.body
læser kapitel 1

# data[].attributes.body
fra Lili Haus

# data[].attributes.attachment_link.description
A Monster Calls Book Trailer Three Stories The Second Tale The First Tale The Third Tale The Final Tale When The Monster comes walking to Conor, he tells him that he will tell him three stories. After the three tales are told, Conor will have to tell the monster his own story, the one Conor is terrified of: The truth...

# data[].attributes.headline
Forløb med fokus på læsning og skrivning

# data[].attributes.subject
Forløb med fokus på læsning og skrivning

# data[].attributes.body
fra CLPE

# data[].attributes.body
fra Mrs Hemry 8th grade English

# data[].attributes.attachment_link.description
A Monster Calls Audio Version : 1 of 3 You have to join this free site to get the rest.

# data[].attributes.attachment_link.readable_text
A foliate head in the shape of an acanthus leaf: a corbel supporting the Bamberg Horseman, Bamberg Cathedral, Germany, early 13th century

The Green Man, also known as a foliate head, is a motif in architecture and art, of a face made of, or completely surrounded by, foliage, which normally spreads out from the centre of the face. Apart from a purely decorative function, the Green Man is primarily interpreted as a symbol of rebirth, representing the cycle of new growth that occurs every spring.

The Green Man motif has many variations. Branches or vines may sprout from the mouth, nostrils, or other parts of the face, and these shoots may bear flowers or fruit. Found in many cultures from many ages around the world, the Green Man is often related to natural vegetation deities. Often used as decorative architectural ornaments, where they are a form of mascaron or ornamental head, Green Men are frequently found in architectural sculpture on both secular and ecclesiastical buildings in the Western tradition. In churches in England, the image was used to illustrate a popular sermon describing the mystical origins of the cross of Jesus.

"Green Man" type foliate heads first appeared in England during the early 12th century deriving from those of France, and were especially popular in the Gothic architecture of the 13th to 15th centuries. The idea that the Green Man motif represents a pagan mythological figure, as proposed by Lady Raglan in 1939, despite its popularity with the lay public, is not supported by evidence.

6th-century Byzantine mosaic in the Great Palace Mosaic Museum, Istanbul.

Usually referred to in art history as foliate heads or foliate masks, representations of the Green Man take many forms, but most just show a "mask" or frontal depiction of a face, which in architecture is usually in relief. The simplest depict a man's face peering out of dense foliage. Some may have leaves for hair, perhaps with a leafy beard. Often leaves or leafy shoots are shown growing from his open mouth and sometimes even from the nose and eyes as well. In the most abstract examples, the carving at first glance appears to be merely stylised foliage, with the facial element only becoming apparent on closer examination. The face is almost always male; green women are rare. Lady Raglan coined the term "Green Man" for this type of architectural feature in her 1939 article The Green Man in Church Architecture in The Folklore Journal. It is thought that her interest stemmed from carvings at St. Jerome's Church in Llangwm, Monmouthshire.

The Green Man appears in many forms, with the three most common types categorized as:

the Foliate Head: completely covered in green leaves

the Disgorging Head: spews vegetation from its mouth

the Bloodsucker Head: sprouts vegetation from all facial orifices (e.g. tear ducts, nostrils, mouth and ears)[7][8]

Sculpture of Green Man in ruins of Hatra, modern Iraq, 2nd century

In terms of formalism, art historians see a connection with the masks in Iron Age Celtic art, where faces emerge from stylized vegetal ornament in the "Plastic style" metalwork of La Tène art. Since there are so few survivals, and almost none in wood, the lack of a continuous series of examples is not a fatal objection to such a continuity.

The Oxford Dictionary of English Folklore suggests that they ultimately have their origins in late Roman art from leaf masks used to represent gods and mythological figures. A character superficially similar to the Green Man, in the form of a partly foliate mask surrounded by Bacchic figures, appears at the centre of the 4th-century silver salver in the Mildenhall Treasure, found at a Roman villa site in Suffolk, England; the mask is generally agreed to represent Neptune or Oceanus and the foliation is of seaweed.

Folk musician Mike Harding gave examples of foliate head figures from Lebanon and Iraq dated to the 2nd century in his A Little Book of The Green Man, as well as his website. There are similar figures in Borneo, Nepal, and India. Harding references a foliate head from an 8th-century Jain temple in Rajasthan.

A late 4th-century example of a green man disgorging vegetation from his mouth is at St. Abre, in St. Hilaire-le-grand, France.

11th century Romanesque Templar churches in Jerusalem have Romanesque foliate heads. Harding tentatively suggested that the symbol may have originated in Asia Minor and been brought to Europe by travelling stone carvers.[citation needed ]

The tradition of the Green Man carved onto Christian churches is found across Europe, including examples such as the Seven Green Men of Nicosia carved into the facade of the thirteenth century St Nicholas Church in Cyprus.

The motif fitted very easily into the developing use of vegetal architectural sculpture in Romanesque and Gothic architecture in Europe.

Later foliate heads in churches may have reflected the legends around Seth, the son of Adam, according to which he plants seeds in his dead father's mouth as he lies in his grave. The tree that grew from them became the tree of the true cross of the crucifixion. This tale was in The Golden Legend of Jacobus de Voragine, a very popular thirteenth century compilation of Christian religious stories, from which the subjects of church sermons were often taken, especially after 1483, when William Caxton printed an English translation of the Golden Legend.

According to Stephen Miller, author of "The Green Man in Medieval England: Christian Shoots from Pagan Roots" (2022) "it is a Christian/Judaic-derived motif relating to the legends and medieval hagiographies of the Quest of Seth - the three twigs/seeds/kernels planted below the tongue of post-fall Adam by his son Seth (provided by the angel of mercy responsible for guarding Eden) shoot forth, bringing new life to humankind".

Also, an association of the green man image with the incarnation of Christ was suggested to be demonstrated by the expressions on the face: where carved representations of the Virgin Mary appear nearby, the green men are shown with happy expressions.

From the Renaissance onward, elaborate variations on the Green Man theme, often with animal heads rather than human faces, appear in many media other than carvings (including manuscripts, metalwork, bookplates, and stained glass). They seem to have been used for purely decorative effect rather than reflecting any deeply held belief.

Modern history

In Britain, the image of the Green Man enjoyed a revival in the 19th century, becoming popular with architects during the Gothic revival and the Arts and Crafts era, when it appeared as a decorative motif in and on many buildings, both religious and secular.[citation needed ] American architects took up the motif around the same time.[citation needed ] Many variations can be found in Neo-gothic Victorian architecture. He was popular amongst Australian stonemasons and can be found on many secular and sacred buildings,[citation needed ] including an example on Broadway, Sydney. In 1887 a Swiss engraver, Numa Guyot, created a bookplate depicting a Green Man in exquisite detail. .

In April 2023, a Green Man's head was depicted on the invitation for the Coronation of Charles III and Camilla, designed by heraldic artist and manuscript illuminator Andrew Jamieson. According to the official royal website: "Central to the design is the motif of the Green Man, an ancient figure from British folklore, symbolic of spring and rebirth, to celebrate the new reign. The shape of the Green Man, crowned in natural foliage, is formed of leaves of oak, ivy, and hawthorn, and the emblematic flowers of the United Kingdom." which alluded to "the nature worshipper in King Charles" but polarized the public.

Sources cited

Basford, Kathleen (1998) [1978]. The Green Man. Cambridge: D. S. Brewer. ISBN 978-0859914970.

Bramwell, Peter (2009). Pagan Themes in Modern Children's Fiction: Green Man, Shamanism, Earth Mysteries. New York: Palgrave Macmillan. ISBN 978-0-230-21839-0.

Sandars, Nancy K., Prehistoric Art in Europe, Penguin (Pelican, now Yale, History of Art), 1968 (nb 1st edn.)

# data[].attributes.attachment_link.description
The Green Man, also known as a foliate head, is a motif in architecture and art, of a face made of, or completely surrounded by, foliage, which normally spreads out from the centre of the face. Apart from a purely decorative function, the Green Man is primarily interpreted as a symbol of rebirth, representing the cycle of new growth that occurs every spring.

# data[].attributes.attachment_link.readable_text
A country laced with myths and legends, England's folklore has made its way to Hollywood blockbusters. Forest Holidays explores some of England's most famous weird, wonderful and downright spooky tales...
St George and the dragon

Image credit: Shutterstock.

On St George's Day each year there are re-enactments across England of a legend centuries old, told and retold by generations. The legend goes that Saint George, a Roman soldier in the 10th century, came across a town plagued by an evil dragon about to kill the king of England's daughter. George is said to have slayed the dragon, freed the town and rescued the princess, thus becoming the patron saint of England.

Robin Hood and his Merry Men

Image credit: Kelvin Stewart

A story much-loved by Hollywood, the English legend of Robin Hood became a figurehead for the triumph of good over evil - the foundation for many a tale since. This lovable outlaw and his band of Merry Men were praised for robbing the rich to give to the poor, outwitting the evil Sheriff of Nottingham and remaining loyal to their beloved king - King Richard. You can visit The Mighty Oak, which stands tall in Sherwood Forest, to this very day.

The Beast of Bodmin Moor

Image credit: "Beast of Bodmin Moor" by Kevin Levell

An infamous myth in British folklore is the Beast of Bodmin Moor: a black panther-like beast seen roaming this wild and isolated landscape in Southwest England (and not usually a habitat for big cats). Practical-minded theories suggest that it's an escaped animal and although there is no verifiable evidence, the Beast has been sighted no fewer than 60 times. Even a leopard-like skull has been found on the moor... Dare you go Beast-spotting on Bodmin?

King Arthur and the Sword in the Stone

Image credit: Shutterstock

The many legends of King Arthur have captured imaginations for centuries. The most famous of British kings, Arthur was said to have defended the country against Saxon invaders and is at the centre of numerous tales, achieving mythical status in Britain. Arguably the most famous of all tales is the Sword in the Stone. Legend says the magician Merlin placed a sword in a stone and whomever was able to pull it out would be the rightful king. Arthur pulls the sword called Excalibur from the stone and becomes the King of England.

The Ghost of The Grey Lady and Longleat House

Image credit: Shutterstock

While many myths and legends lend themselves to victory of good over evil, others focus on our love of mystery and romance, and the tale of The Grey Lady (sometimes referred to as The Green Lady) at Longleat House is one of passion, love and loss.

The wife of the 2nd Viscount of Weymouth Thomas Thynne, Lady Louisa Carteret was rumoured to be having an affair with a footman. After discovering the affair, the Viscount in a fit of rage pushed the footman down the stairs, breaking his neck. Thomas was said to have had the body buried in the cellar and told Lady Louisa that the footman left without a word. She didn't believe it and, thinking the footman had been imprisoned in the house, searched every room each night until she died. Legend says that Lady Louisa still searches for her true love and has been spotted by staff and visitors to the house...

# data[].attributes.attachment_link.title
England's most spine-tingling myths and legends

# data[].attributes.attachment_link.description
A country laced with myths and legends, England's folklore has made its way to Hollywood blockbusters. Forest Holidays explores some of England's most famous weird, wonderful and downright spooky tales... Image credit: Shutterstock. On St George's Day each year there are re-enactments across England of a legend centuries old, told and retold by generations.

# data[].attributes.attachment_link.title
Witches, Monsters & Fairies in British Folklore - Historic UK

# data[].attributes.attachment_link.description
A collection of articles related to witches, fairies and monsters in british folklore.

# data[].attributes.attachment_link.title
Story starters with pictures 7-9th grade.docx

# data[].attributes.attachment_link.readable_text
One thing that most Listversers have in common is a love of good books and a love of monsters, mysteries and the bizarre. This list combines the lot by selecting the most horrifying of all monsters from literature through the ages. Be sure to use the comments to tell us your own favorites.

Captain Nemo's underwater ship, Nautilus, is equipped with the world's most adanced weaponry for the 1800s, including electrified bullets. But near the end of the novel, Nautilus is swarmed by a school of "poulpes," which is the French word for "octopi." It is almost always translated as "giant squid" because one pouple in particular becomes entangled in Nautilus's propellers, and the crew has to go topside and battle it with axes, harpoons and knives.

Verne never gives the squid's size, but implies it, "one of these animals, only six feet long, would have tentacles 27 feet long. That would make a formidable monster." While battling it, the squid manages to grab up one crewman and drown him, then devour him before the others chop off its entangling tentacles and drive it away. The real horror of this monster is that Verne was always interested in being realistic in his science fiction, and giant squids are real.

We now have photographic evidence, and the largest species is believed to be at least 40 feet long, with the muscular strength to crush a crush a small schooner like a tin can. Its tentacles are lined with serrated teeth and sharp hooks that can slice human skin like a razor. They have the largest beak of all animals, large and strong enough to bite off a human hand. The largest recorded specimen weighed 1,091 pounds.

The minotaur is a cross between a human and a bull, and the story of its creation is a lot of fun. King Minos had a wife and queen named Pasiphae, whom Poseidon cursed with lust for a giant white bull he sent to Minos's island, Crete. Pasiphae would dress provocatively and saunter past the bull, but the bull didn't care at all.

So she whined to her husband until he ordered Daedalus, his captive engineer, to build a huge, hollow bull for Pasiphae to climb into. She did so, they wheeled it into the bull's pasture, and he promptly had his way with her. Their offspring was so monstrous and evil, devouring every human he could get his hands on. So Minos ordered Daedalus to construct a giant labyrinth in which the minotaur will be housed and unable to escape.

In order to keep the minotaur from trying to find his way out, Minos orders 7 men and 7 women thrown into the labyrinth every year to keep the minotaur content. The minotaur is finally killed by Theseus, who uses a ball of thread given to him by Ariadne to find his way out of the labyrinth.

One of this lister's favorites. The mythos surrounding this monster varies with each tribe of the Algonquian languages, among which tribes are the Cree, Ojibwa, Montagnais and others. As cited on Wikipedia is the Ojibwa description of the Wendigo:

"Gaunt to the point of emaciation, its desiccated skin pulled tautly over its bones. With its bones pushing out against its skin, its complexion the ash gray of death, and its eyes pushed back deep into their sockets, the Wendigo looked like a gaunt skeleton recently disinterred from the grave. What lips it had were tattered and bloody [....] Unclean and suffering from suppurations of the flesh, the Wendigo gave off a strange and eerie odour of decay and decomposition, of death and corruption."

The Wendigo is a horrifying cannibalistic apparition that devours humans, and can assume their form in some of the tribes' variations of the mythos. In all Algonquian tribes, any human who resorts to cannibalism will turn into a Wendigo forever. The best part of this mythos lies in the Abenaki tribe of Maine and Eastern Quebec. They feared the Wendigo because it would attack sleeping campers at night out in the wilderness (and Maine and Quebec have some very wild wildernesses), and cook and eat them feet first. Everyone in the area would hear the victims' eerie distant screams.

Just one more reason not to like clowns. Tim Curry's portrayal in the film version is outstanding, but the book is a hundred times better. This is King's absolute pinnacle of scaring people. Pennywise is the name by which the monster goes when in the form it believes will entice most children to come near it. It has been around for millions of years and arrived on Earth from an extraterrestrial origin. It appears to a person in the form of whatever most terrifies him or her. If a person, especially a child, does not know, at first, to be afraid of it, it appears as a clown to lure the person closer.

It hibernates for some 25-30 years and wakes up during some horrible catastrophe or act of violence. It assumes the form of anything it wants, in order to terrify human beings, especially children, whose fears are easy to manifest. But its most common disguise is as a clown carrying balloons that float against the wind. Its first scene is the infamous sewer scene, in which it stands up in a rainy sewer while little Georgie Denbrough is looking for his toy sailboat.

Pennywise offers him the boat and balloons, and when Georgie reaches in to get it, Pennywise rips his arm out of the socket and devours it with horrible, ragged lion teeth. Georgie bleeds to death in the gutter screaming in agony. It appears later in life to Georgie's brother, Bill, as Count Dracula with razorblades for teeth, and chops its jaws together on its own lips, slicing them open inches from his face in a library, just to horrify him.

All it wants it to eat people, and people taste best when they are terrified. It delights in causing as much psychological, emotional and physical agony in people as it possibly can. The human mind can, only in terms of fear, approximate Pennywise's true physical form. The most common human fear is arachnophobia, and thus, at the end, to the grown-up children who pursue it into the sewers, it appears as a very fast, gigantic, black spider with enormous fangs.

Scylla is also one of the great stories of Greek mythology, but Homer, whether man or committee, so popularized the monster that we think of it in Homeric terms. The story is a metaphor, similar to that of Daedalus and Icarus, for following the middle ground, and not veering too far one way or the other.

In the Odyssey, Circe informs Odysseus that his route will take through the Strait of Scylla and Chraybdis. Charybdis is a huge whirlpool that will sink his ship. It will be better, thus, for him to sail closer to Scylla and lose a few men, rather than all of them.

This he does, and Homer sings, "...gasping, they squirmed as Scylla swung them up her crag and into her cavernous mouth she gobbled them up raw, howling and flailing their arms at me."

Scylla's appearance is horrid beyond reason: four eyes, six necks stretched long like hungry half-feathered chicks, huge, nasty heads, with three rows of ragged, shark teeth in each. Twelve tentacle legs and a cat's tail with six dog heads blistered out around her waist.

Fenris (or Fenrir) is a colossal, shaggy black wolf, the offspring of Loki, god of mischief. According to the Heimskringla, and the Poetic and Prose Eddas, Fenris will attack and kill Odin himself, the king of the gods, during Ragnarok. Ragnarok is the Viking Armageddon, during which time, every single god and goddess will fight and die in battle. Almost all human beings will be destroyed in the turmoil, and the Universe itself wiped out and recreated anew by the All-father.

Thor, god of thunder, will meet the cosmic midgard serpent, Jormungandr, who encircles the entire world and bites his own tail. When he releases his tail to fight Thor, Ragnarok will begin, and he and Thor will kill each other. Loki will fight Heimdallr, the horn god of wisdom, and they will kill each other.

Fenris, meanwhile, is a huge wolf with a taste for human flesh. He grows ever larger with each person he devours, until, by the time of Ragnarok, he is the size of a continent or the whole world. His gaping lower jaw drags the ground while his upper jaw touches the sky. He fights and defeats Odin, then swallows him whole and alive. Then Odin's son, Vithar, rips Fenris's jaws apart and impales him. In some versions of the mythos, Fenris eats Odin, and then swallows the entire world before Vithar can stop him. Viking lore is so much fun.

Perhaps the purest entry on this list in terms of physical horror, Medusa is the daughter of sea gods Phorcys and Ceto, and in the original version of the mythos, she and her three sisters, also snake-haired and ugly, always existed in their monstrous form. It's the late addition popularized by Ovid in his Metamorphoses that gives Medusa the backstory of once being so beautiful that Poseidon raped her in Athena's temple.

This infuriated Athena, who promptly transformed Medusa into a snake-haired hag so hideous that even looking into her eyes would turn any living thing into stone. This is where the saying "so scared I was petrified" etc. comes from. In most versions of the mythos, Medusa is beheaded by Perseus, who watches her mirror image in his shield to protect himself from looking at her.

Hard to say which is more horrifying, the Balrog, or Shelob, the giant spider (or Ungoliant, from The Silmarillion). Out of a desire not to repeat an author twice, this lister chose the Balrog and left Shelob off. Giant spiders are definitely not anyone's idea of something to hug. But the Balrog is a gigantic demon that can shroud itself in undying fire, and wields a massive flaming whip, and a gargantuan flaming sword. It has claws of steel, and may have huge, bat-like wings of darkness.

Tolkien appears never to have been satisfied with his creation, as he kept changing it, but the character in the Lord of the Rings is so powerful that no one in its 5,000 years of history in Middle-earth can overcome it, until it meets Gandalf. It survives the First Age War of Wrath and flees to the bottom of the Misty Mountains. In Third Age 1980, the dwarves mining mithril in the Mountains disturbed it, and all of them cobined could not defeat it, so they fled forever. Orcs and goblins moved in, sent by Sauron to secure the Mountains for his coming war, and the Balrog let them stay. They lived in absolute terror of it.

When the Fellowship of the Ring became trapped by the orcs in 3019, Gandalf the Grey tried to thwart it with spells, only to discover that the Balrog knew counterspells. They faced on the Bridge of Khazad-dum, and it turns out that both Gandalf and the Balrog were Maiar, or lesser angels, and equally powerful. They both fell from the bridge, and fought in the bowels of the Mountains for 10 days, until Gandalf finally slew it and then died from wounds it inflicted on him.

Shelob's just a giant spider.

The first of three major villains in the anonymous epic poem. He is described as a descendant of Cain, the world's first murderer, whose lineage God cursed with atrocious physical deformities. Grendel is never physically described in the poem except to say that he is a horrific creature, "very terrible to look upon." He becomes enraged, probably by the people's loud carousing every night in the mead hall of Heorot, and proceeds to break in during the festivities one night and devour 30 men.

So King Hrothgar sends out word for Beowulf, the world's greatest warrior, to come and kill the beast. With Beowulf and his men lying in wait, Grendel breaks in and gobbles up several of his men, then comes upon Beowulf, and they fight to the death. Beowulf rips one of his arms out with his bare hands, and Grendel flees nine days underwater to his mother's lair. Beowulf goes after him, kills his mother, and finds Grendel cowering in a corner, and beheads him.

Granted, Grendel's a total wuss once he meets Beowulf, but until then, there's no one in the world who can stop him.

He is a monstrous nightmare. The reason he is so horrifying is because of Carroll's masterful description of him using blends (portmanteaus). He concocted new words throughout his famous poem, The Jabberwocky, to lend an air of nonsense, but with that nonsense comes fear. We are afraid of things we cannot sense. When the lights go out, you look over your shoulder at the drooling, horrifying monster you know is instantly panting behind you, ready to strip the flesh off your bones.

Well, that's the Jabberwocky. This lister always envisioned him as "the abominable snowman," something like Bigfoot but whiter, covered in blood, with giant hawk-like claws, opened wide and ready to snatch you up into its horrible maw. Take the phrase "and the mome raths outgrabe." Never mind what it means. It sounds violent, especially the sharp vowels in "raths" and "out." Then the strikes of the consonant clusters "ths" and "tgr." "Ths" sounds like a hiss.

It has bright red eyes, a color that sticks out in a forest, and it "burbles," which sounds just like the sound of drooling ravenously. "It came whiffling through the tulgey wood." "Whiffling" is this lister's favorite word in the poem. It implies light-footed speed, especially pertinent to a horrific beast that has just spied you and is sprinting, galloping as frantically as it can to rush upon you.

What makes Carroll's description masterful is how much he leaves out. That way, the reader makes up most of the image, and it's always more horrid and terrifying that way. The whole poem exudes an abiding sense of dread, and the next time you take a walk in the woods and everything gets real quiet, you might wonder what's immediately behind you, eyes wide and fangs drooling.

# data[].attributes.attachment_link.title
Top 10 Horrifying Monsters in Literature - Listverse

# data[].attributes.attachment_link.description
One thing that most Listversers have in common is a love of good books and a love of monsters, mysteries, and the bizarre. This list combines the lot by selecting the most horrifying of all monsters from literature through the ages. Be sure to use the comments to tell us your own favorites.

# data[].attributes.body
7. - 9. klasse

# data[].attributes.body
fra John Mannsa's Board

# data[].attributes.attachment_link.description
Explore John Manna's board "A monster calls" on Pinterest. | See more ideas about A monster calls, Monsters and The beast.

# data[].attributes.body
fra Pinterest

# data[].attributes.attachment_link.description
Discover recipes, home ideas, style inspiration and other ideas to try.

# data[].attributes.body
Analyse af person og plot + læselog
fra Folkeskolen af Mark Thornberg

# data[].attributes.attachment_link.readable_text
Blog
Abonner på nyt om Loops i undervisningen (LIUV) i dit personlige nyhedsbrev.

Et onlineforløb med context-based grammar

Formålet med forløbet er at tilbyde undervisere, elever og studerende en model, der kan give lidt pusterum og fleksibilitet i arbejdet og måske endda aflaste nogle af de undervisningsplatforme, som flere steder er hårdt pressede på grund af situationen med Covid-19. Fokus er på elevernes sproglige og analytiske kompetencer samt at udfordre nogle af de sociale.

Forløbet er tilrettelagt ud fra en organiseret deling af dokumenter, hvor underviseren deler sit dokument med eleverne. Her har de ikke ret til at redigere, men alle kan og skal se, hvad der bliver lagt ud. Studiegrupperne samles tilsvarende om et dokument, som de deler med underviseren, som skal have ret til at redigere, så der kan tilbydes feedback.

Som materiale benyttes Patrick Ness' roman A Monster Calls. Det er en letlæselig bog, som giver et enormt udbytte i form af følelsesmæssig udvikling, dialog med sig selv og andre, erfaringslæring, gensidig respekt og appetit på videre læsning. Bogen er også publiceret i en illustreret udgave, hvor tegningerne sagtens kan bruges fx til opgaver i mundtlighed. Den er også udkommet som film på Netflix med titlen Syv minutter over midnat.

I det følgende vil jeg kort forklare logikken bag informationsarkitekturen, og hvordan den hænger sammen med de dokumenter, du kan downloade nederst i bloggen.

Artiklen fortsætter under banneret

Organiseret processkrivning

Underviseren organiserer klassen i studiegrupper, som mødes på bestemte tidspunkter med eller uden underviseren. Har man flere klasser, kan studiegrupper fx mødes med underviseren og fremlægge for hinanden under opsyn. Princip for organisering af studiegrupperne afhænger af lærerens kendskab til klassen. Man kan lave teams eller niveauinddele alt efter behov.

Reading organizer deles med de studerende, og man kan evt. vælge at gøre den del individuel, evt. sørge for at den deles med underviseren, så man kan holde øje med, hvor langt den enkelte elev er med læsningen. Man kunne evt. aftale, at eleven tilsvarende har dette dokument, uden underviser har ret til at redigere.

Eleven anfører tal eller titel på kapitel i venstre kolonne. I kolonnen Action sammenfattes handlingen i kapitlet, og i Event erstatter eleven ordet med sin egen angivelse af en vigtig begivenhed i kapitlet. Det er vigtigt, det kun er et enkelt ord. Thoughts er tænkt som den kolonne, hvor eleven kan komme med sine egne tanker om begivenheden. I kolonnen Heading erstatter eleven ordet med sin egen overskrift på det antal kapitler, som for eleven synes at hænge sammen i en enhed under den betegnelse. En overskrift må gerne være flere ord.

Sideløbende med elevens læsning og studiegruppernes arbejde med underviserens feedback, kunne fokus for klassemøderne være på de små opgaver i zip-filen Context-Based Grammar. Det er tekstuddrag fra romanen, som sættes under forskellige grammatiske lys. Man kunne fx starte med at snakke om monstrets rolle i historien, hvilken betydning det har for Conor, og så diskutere elevernes analyser af det sprog, der levendegør monstret. Måske kunne noget af den nye grammatiske viden bruges til at styrke beskrivelserne i Thoughts-kolonnen i deres Reading organizer.

Som læsningen skrider frem, kunne man bede studiegrupperne samarbejde om at lave en karakteristik. Sørg for at hver studiegruppe får en flad karakter og gem Conor til sidst. Arbejd med opgaven Word groups used to make vivid descriptions mens I snakker om karakteristik. Sørg for eleverne har grundlæggende viden om tillægsord, og bed så studiegrupperne om at udfylde en Characterization organizer i det dokument, de deler med dig.

Hvordan I sammenligner jeres Events afhænger af klassen. Er der brug for kort snor, ajourføres studiegruppes resultat med de Reading organizers, der er blevet delt. Måske skal der aftales en anden rolle-fordeling i gruppen. Kan man slippe snoren, fremlægger studiegrupperne til et klassemøde. De studiegrupper, der lytter, kan udfylde et lytteark. Her kunne man for nemhedens skyld bruge Characterization organizer en igen.

Vil man arbejde i dybden med karakteristik, kunne man bede eleverne individuelt bruge en because-sætning i deres Thoughts-kolonne, fx Lily is angry because .... Så skulle tillægsordene gerne komme af sig selv.

Hvis det er en klasse, hvor de har arbejdet med plot, kunne man prøve kræfter med Plot organizereren. Formålet er at diskutere forskellen på plot driven og character driven narratives. Igen er det meningen, de skal bruge deres Reading organizer. Den her del er svær, fordi det ikke altid er lige nemt at forstå monstrets historier.

# data[].attributes.attachment_link.title
A Monster Calls af Patrick Ness - Folkeskolen.dk

# data[].attributes.attachment_link.description
Blog Abonner på nyt om Loops i undervisningen (LIUV) i dit personlige nyhedsbrev. Et onlineforløb med context-based grammar Formålet med forløbet er at tilbyde undervisere, elever og studerende en model, der kan give lidt pusterum og fleksibilitet i arbejdet og måske endda aflaste nogle af de undervisningsplatforme, som flere steder er hårdt pressede på grund af situationen med Covid-19.

# data[].attributes.body
Literary Monsters
Arbejdsark

# data[].attributes.body
til bog og film

# data[].attributes.body
s. 1-10

# data[].attributes.body
fra Candlewick Express

# data[].attributes.body
fra eReolen

# data[].attributes.attachment_link.description
Summary: An extraordinarily moving novel about coming to terms with loss.The monster showed up just after midnight. As they do. But it isn't the monster Conor's been expecting. He's been expecting the one from his nightmare, the one he's had nearly every night since his mother started her treatments, the one with the darkness and the wind and the screaming...

# data[].attributes.body
Interaktiv træning af ordforråd
fra Quizlet

# data[].attributes.attachment_link.title
Vocabulary for A Monster Calls by Patrick Ness Flashcards | Quizlet

# data[].attributes.attachment_link.description
Start studying Vocabulary for A Monster Calls by Patrick Ness. Learn vocabulary, terms, and more with flashcards, games, and other study tools.