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Climate change: Earth's giant game of Tetris - Joss Fong

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There's a game of Tetris happening on a global scale: The playing space is planet Earth, and all those pesky, stacking blocks represent carbon dioxide -- a greenhouse gas that is piling up ever more rapidly as we burn the fossil fuels that run our cars, factories and power plants.

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Tesol france colloquium environment project -- fasquel mh

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English (and latest) version of the powerpoint persentation I used for my talk at Tesol France 32nd Colloquium - November 23, 2013.

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Microsoft Partners in Learning competition (International Competition)

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Microsoft Partners in Learning competition (International Competition)

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We have won!!!!! Congratulations to all of you!

We have been selected out of 23 000 applicants. Only 250 projects were selected in the world. we will compete at the Barcelona Global Forum in March 2014. Well done!!!!!!!!

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Video

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Vidéo - Les journées de l'innovation - Réseau Canopé

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Aller directement au contenu de la page Aller au plan du site Aller au menu bas de page

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The Paper Planes English Prize 2013

Participer au concours de Creative Writing

The Paper Planes English Prize 2013 :
=> Le règlement du Paper Planes English Prize 2013
=> Inscription au Paper Planes English Prize 2014

Après de nombreuses heures de lecture et quelques heures de délibération, notre jury composé de 4 auteurs, 2 enseignants et 2 éditrices a rendu son verdict. Les oeuvres reçues en 2013 du Paper Planes English Prize sont encore excellentes !

- Poèmes et chansons :
1er prix : Marion Errard et Elea Chavent du Lycée du Mont-Blanc, Passy (74)
1 liseuse Kobo + 2 Paper Planes (dont 1 dédicacé par Rupert Morgan)
2) du Lycée français de Vienne (Autriche)
1 Guide du Routard Angleterre/Pays de Galles + 6 Paper Planes (dont 1 dédicacé par Rupert Morgan)
3) Augustin Sineux et Ferdinand Prime du Lycée Malherbe de Caen (14)
1 Guide du Routard Angleterre + 4 Paper Planes (dont 1 dédicacé par Rupert Morgan)
4) du Lycée Anna de Noailles de Bucarest (Roumanie)
1 Paper Planes
5) du Collège Lucie Aubrac de Doubs (25)
1 Paper Planes
6) du Collège Français bilingue de Londres (Royaume-Uni)
1 Paper Planes
7) du Lycée de l'Essouriau aux Ulis (91)
1 Paper Planes
8 ) du lycée Anna de Noailles de Bucarest (Roumanie)
1 Paper Planes
9) du lycée Jean de Pange de Sarreguemines (57)
1 Paper Planes
10) du Collège Français bilingue de Londres (Royaume-Uni)
1 Paper Planes
10 ex æquo ) .
1 Paper Planes réservé pour l'auteur ou son enseignant qui sont invités à se manifester.

- Récits personnels (non fiction) :
1er prix : du Lycée Bellevue de Toulouse (31)
1 liseuse Kobo + 2 Paper Planes (dont 1 dédicacé par Rupert Morgan)
2) du Lycée Dumont d'Urville de Caen (14)
1 Guide du Routard Angleterre/Pays de Galles + 6 Paper Planes (dont 1 dédicacé par Rupert Morgan)
3) du Lycée Silvia Monfort de Luisant (28)
1 Guide du Routard Angleterre + 4 Paper Planes (dont 1 dédicacé par Rupert Morgan)
3 ex aequo) du Lycée Leclerc de Saverne (67)
1 Guide du Routard Angleterre + 4 Paper Planes (dont 1 dédicacé par Rupert Morgan)
5) du Lycée Lyautey de Casablanca (Maroc)
1 Paper Planes
6) du Lycée Sainte Thérèse de Quimper (29)
1 Paper Planes
6 ex aequo) du Lycée Lyautey de Casablanca (Maroc)
1 Paper Planes
8 ) de L'Athénée de Beyrouth (Liban)
1 Paper Planes
9) du Lycée français Anna de Noailles de Bucarest (Roumanie)
1 Paper Planes
10) du Lycée Leclerc de Saverne (67)
1 Paper Planes
10 ex aequo) du Lycée Parc Chabrières d'Oullins (69)
1 Paper Planes

- Nouvelles (fictions) :
1er prix : du Lycée Lyautey de Casablanca (Maroc)
1 liseuse Kobo + 2 Paper Planes (dont 1 dédicacé par Rupert Morgan)
2) de Sashoy Moving du Collège 3 de Saint Martin (Guadeloupe)
1 Guide du Routard Angleterre/Pays de Galles + 6 Paper Planes (dont 1 dédicacé par Rupert Morgan)
3) du Collège Maréchal Leclerc de Puteaux (92)
1 Guide du Routard Angleterre + 4 Paper Planes (dont 1 dédicacé par Rupert Morgan)
4) du Lycée François 1er de Fontainebleau (77)
1 Paper Planes
5) du Lycée Albert Camus de Rillieux-la-Pape (69)
1 Paper Planes
6) Ilanah Dubois du Cours Bastide de Marseille (13)
1 Paper Planes
7) du Lycée René Descartes de Phnom Penh (Cambodge)
1 Paper Planes
7 ex aequo ) du Lycée de l'Arc d'Orange (84)
1 Paper Planes
9) du Lycée Lyautey de Casablanca (Maroc)
1 Paper Planes
10) du Lycée Français de Vienne (Autriche)
1 Paper Planes

Félicitations aux gagnants et à leurs professeurs !
Chaque enseignant participant remporte 1 Paper Planes.
Les enseignants dont les élèves ont gagné un prix remportent 1 Paper Planes et 1 microphone enregistreur :
Bravo à Pascale Abdelkhirane, Isabelle Bowley, Sandrine Brillot, Marie Fayemendy, Marianne Ferrer, Dominique Geane, Missao Guy, Valérie Héné, Lars Holzinger, Laurence Laurendin, Dominique Leubeurrier, Ghislain L'Hommeau, François L'Huissier-Domalain, Céline Margontier-Haynes, Marie-André Milesi, Camille Minne, Virginie Plessis, Simona Radu, Geneviève Raynaud, Mathilde Serhan, Cathy Simonin, Lena Thomé et Valérie Wille.
Vous avez été plus de 600 participants présélectionnés par 100 enseignants, issus d'autant de collèges ou lycées en France et à l'étranger.
Merci encore à tous pour vos productions !

Fort du succès et de la qualité de cette édition 2013, nous avons le plaisir de lancer l'édition 2014 :
=> Inscrivez-vous à l'édition 2014 du Paper Planes English Prize.

Vous avez publié les résultats sur le site de votre établissement ? Faites le nous savoir et nous publierons un lien vers vos pages !

- L es résultats du concours creative writing The Paper Planes English Prize 2012

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Concours Creative Writing 2013 : The Paper Planes English Prize 2013

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The Paper Planes English Prize 2013 Participer au concours de Creative Writing The Paper Planes English Prize 2013 : => Le règlement du Paper Planes English Prize 2013 => Inscription au Paper Planes English Prize 2014 Après de nombreuses heures de lecture et quelques heures de délibération, notre jury composé de 4 auteurs, 2 enseignants et 2 éditrices a rendu son verdict.

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published on May, 12th

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Environment short stories -- new version

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latest version of my students' short stories to defend the environement

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Let's expermiment the flipped classroom!

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Environment Games " Footprints Vancouver

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Climate change included in US science teaching guidelines for the first time --Guardian

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Climate change included in US science teaching guidelines for the first time --Guardian

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American school children will for the first time receive extensive lessons on climate change following the adoption on Tuesday of new science education guidelines.

However, the final standards were substantially weakened from earlier drafts.

The final guidelines cut by about a third the amount of time devoted to a subject seen as critical to future generations.

They are also less explicit than earlier drafts about the human role as a driver for climate change. "It's buried at best," said Mark McCaffrey, policy director for the National Center for Science Education.

The new science teaching standards will introduce climate change as a core aspect of science education for middle and high school students
in up to 40 states - in many for the first time.

The guidelines were unveiled at a time when climate change has become
a flashpoint for conservative groups, similar to the teaching of evolution in classrooms

The Next Generation Science Standards are not mandatory. But scientists and educational experts in 26 states helped to develop them, and they will for the first time bring a degree of cohesion to the teaching of climate change, said Frank Niepold, co-chair of the climate education group at the US Global Change Research Program,
who was involved in the three-year effort.

"In the current situation the state standards are all over the map.
It's a hodgepodge," he said. "We are still in a situation where across
the country basically in every state students can still graduate from
high school and in some cases go through college without learning the
basics."

The mission of the new standards was to prepare a new generation of
Americans for college and adulthood, said Matt Krehbeil, a consultant
to the process.

"The NGSS aim to prepare students to be better decision makers about
scientific and technical issues and to apply science to their daily
lives," he said in a statement.

However, the standards appeared considerably shorter than draft versions that had circulated in recent months. Unlike earlier drafts, the final standards do not propose teaching climate change until children are in middle school and high school.

Mario Molina, deputy director at the Alliance for Climate Education, said the experts drafting the guidelines had cut 35% from the sections devoted to climate change, in response to public comments. He did not believe it was political, but was response to a need to compress a great deal of material.

However, he said teachers will now need additional materials and clarifications to teach climate change in detail.

Earlier versions had proposed introducing some aspects of climate change as early as kindergarten.

The standards are also much vaguer about the causes of climate change. An earlier version for primary school students had said explicitly that human activity was a driver of climate change. "It's not as explicit in terms of the connection between human activities and climate change," Molina said.

McCaffrey agreed. "They talk about climate just in a very general way," he said. "At the third grade level they are not explicit that they are talking about human activities."

McCaffrey said the lack of clarity could be an opening for teachers to teach their own opinions in place of science, or resort to DVDs and other materials being pushed into classrooms by conservative groups that deny the existence of climate change.

"It opens the door for teaching a phony controversy," he said.

The new guidelines also offered far less time for teaching about the physics involved in the greenhouse effect. Such knowledge was critical to ensuring students understand that greenhouse gases cause climate change, and that such emissions must be cut to prevent the worst effects of climate change.

"We are not seeing the students need to understand the greenhouse effect," he said. "It was in the earlier version a year ago."

A spokesman for the Next Generation Science Standards refused to comment on the new guidelines, and hung up on the phone when asked about climate change.

The new standards were released at a time when conservative groups in America are making a strong push to limit teaching of established climate science or inject fringe ideas on climate change into the curriculum.

Some 18 states have considered "academic freedom acts" that would allow teachers to depart from established science and deny the existence of climate change - including seven this year alone.

In Britain, meanwhile, draft guidelines released last month cut climate change off the curriculum for children under the age of 14.

But it was hoped that the broad support from states and the involvement of so many experts from the National Research Council the National Science Teachers Association, and the American Association for the Advancement of Science, would defuse any political controversy attached to the teaching of climate change.

"Climate change is not a political issue and climate change is not a debate. It is science. It is strongly supported heavily research science, and our hope is that teachers will not see this as a political issue or a political debate," Molina said.

He said the new standards will help guide teachers on teaching climate change. However, it was critical that science organisations offer support and resources to teachers who may not be as familiar with climate change as with other areas of science.

"There are existing materials out there - DVDS and stuff on YouTube and so forth - that are being used in classrooms to perpetuate confusion. A lot of teachers just don't have the background in science themselves. They may be hesitant and confused. That is why professional development is so vital," he said.
Topics

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Climate change included in US education guidelines for the first time

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American school children will for the first time receive extensive lessons on climate change following the adoption on Tuesday of new science education guidelines. However, the final standards were substantially weakened from earlier drafts. The final guidelines cut by about a third the amount of time devoted to a subject seen as critical to future generations.

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Sea Ice Max Continues Downward Trend : Image of the Day

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Satellite measurements recorded the 5th lowest Arctic sea ice maximum extent on record. The top ten smallest maxima have all occurred in the past ten years.

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Project : (Innovation Forum application)

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Project : (Innovation Forum application)

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Forum des Enseignants Innovants et de l'Innovation Educative

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Description : L'objectif de ce projet est de partager un outil pédagogique collaboratif entre les enseignants de cycle 2 afin de les aider à démarrer un enseignement de l'anglais dans une démarche " communic'actionnelle ", qui propose des vidéos de marionnettes sur des sujets très variés , des écoutes actives, des jeux et des tâches simples à réaliser par les élèves.

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Marie Hélène Fasquel enseigne l'anglais au lycée Lycée Giraux Sannier de Saint-Martin-Boulogne dans l'académie de Lille. Vous avez pu la découvrir sur la liste e-teachnet, dans le n°134 du café pédagogique, au travers de ses publications. Vous pourrez aussi la rencontrer virtuellement au cours d'une conférence organisée par Jürgen Wagner le 6 mai, où elle présentera le projet "e-books & the environment " qui a déjà remporté plusieurs prix.

http://fremdsprachenundneuemedien.blogspot.de/2013/03/[...]

C'est une enseignante très dynamique, qui s'implique activement dans beaucoup de projets innovants pour créer pour ses élèves des situations de communication authentiques impliquant les nouvelles technologies et d'autres jeunes en Europe.

CR : " Marie-Hélène, dites-nous ce qui vous a donné l'idée de créer ce projet ? "

MHF : " Le projet "e-books & the environment " est né d'un constat : motiver les élèves en langues vivantes n'est pas chose aisée... Les faire progresser, leur donner envie de se dépasser non plus. Il faut pour cela mettre en œuvre des projets différents, innovants et surtout motivants pour nos élèves de lycée. "

CR : " Quel est votre objectif principal? "

MHF : " C'est avant tout de faire progresser les élèves et les mettre sur la voie de l'autonomie et de la réussite en leur fournissant des tâches ambitieuses et systématiquement publiées en ligne. L'élève sait également que ses travaux doivent être originaux et que le copier-coller n'a aucun intérêt puisqu'il n'apporterait rien de nouveau sur la toile. "

CR: " Et qu'est-ce qui motive le plus vos élèves? "

MHF : " Je crois que c'est que je leur propose une communication véritable avec des élèves de pays étrangers, ce qui leur permet d'utiliser l'anglais dans des conditions authentiques dans une perspective actionnelle.

La publication des travaux personnels (sur eTwinning, espace protégé) ainsi que l'organisation régulière de concours organisés dans les différents pays motivent les élèves au plus haut point.

L'attrait des TICE ne se dément pas non plus : il ne s'agit que d'outils pour aboutir à un résultat et, bien sélectionnés, ils nous permettent de motiver les élèves qui ont cours une heure par semaine en salle pupitre, en anglais. "

Le logo ci-contre a été créé pour le Twinspace du groupe par deux élèves, Florian et Jérémy.

CR : " Votre projet a donc aussi une dimension européenne. "

MHF : " Il s'agit plus précisément d'un projet de création collaborative et de partage avec des partenaires européens. Ce projet a pour buts principaux d'ouvrir les élèves à l'Autre, de les sensibiliser aux problèmes environnementaux et de les faire progresser en anglais dans une perspective actionnelle, motivante et authentique. "

CR : " Et est-ce que vos élèves ont travaillé uniquement pendant vos cours ou se sont-ils aussi impliqués en dehors des cours ? "

MHF : " Ils ont tellement été pris par leurs tâches qu'ils en sont venus à travailler l'anglais en dehors de la classe sans vraiment s'en apercevoir, et à être de plus en plus autonomes grâce à l'utilisation constante d'outils collaboratifs (tels que Titanpad, Google Drive, Pen io) mais aussi d'outils de veille numérique (Diigo, Symbaloo, Scoop it). Plusieurs e-books et d'autres réalisations en ligne sont créés ou vont être créés petit à petit par les élèves des diverses classes, en France comme à l'étranger (en Turquie et Italie). "

CR : " Comment avez-vous articulé le travail en cours et en autonomie ? "

MHF : " Ce travail a été mis en œuvre dans deux classes seconde de 36 élèves. Il s'est fait sous 3 formes :

- en classe plus traditionnelle deux heures par semaine : étude de textes, de documents vidéos, et travail des cinq activités langagières sur le thème de l'environnement.

- en salle pupitre en 1/2 groupe une heure par semaine

- à la maison :

* collaboration en ligne pour les groupes qui ont créé un Titanpad ou un Google Doc,

* via emails pour ceux qui ont préféré se partager le travail et utiliser un traitement de texte traditionnel,

* en ligne sur les sites recommandés pour approfondir les notions ainsi que pour s'entraîner dans les différentes activités langagières (le Scoop It),

* pour la recherche (de documents, d'idées) avec comme guide le "Mur" sur Padlet (ex. Wallwisher) et le Symbaloo.

CR : " Des professeurs d'autres matières ont-ils aussi participé à ce projet ? "

MHF : " Oui ! Les professeurs de SVT ont travaillé l'environnement en classe, et organisé une sortie à Nausicaa à Boulogne sur mer pour visionner "Planète Océan".

Les professeurs de français ont aussi contribué au projet en travaillant la nouvelle et ses spécificités, ce que nous avons rebrassé ensuite en anglais.

Les documentalistes ont soutenu le projet toute l'année en particulier Mélanie Serret qui a énormément travaillé sur le projet et ne cesse de le faire. "

CR : " Concrètement, comment débute ce projet? "

MHF : " Le projet débute avec la recherche active de la part de l'élève, qui prend des photographies ou des vidéos illustrant des problèmes environnementaux ou mettant en scène des paysages qu'il aimerait voir préservés. Ainsi, nous partons non seulement du connu mais également de leurs représentations et de leurs propres réflexions. Les élèves mettent en regard les photographies et les réactions qu'elles ont suscitées et rédigent des articles publiés sous forme d'e-books. "

CR : " Pouvez-vous nous montrer une réalisation ? "

MHF : " Un exemple d'e-book de mes classes de 2nde est en ligne ici :

http://issuu.com/mariehel2/docs/articles_2a_--_groupe_[...]

et voici leur premier recueil de nouvelles:

CR : " Et comment ces articles sortent-ils de la classe? "

MHF : " Ces articles permettent d'entamer le dialogue avec nos partenaires européens sur eTwinning. Le projet a été retenu et a son propre blog sur eTwinning, son " TwinSpace " ici:

http://new-twinspace.etwinning.net/web/p88001

Des partenaires turcs, italiens et français ont rejoint le projet. Les élèves partagent leurs travaux et peuvent commenter les travaux des autres classes ou de leurs camarades. "

CR : " Les articles sont-ils commentés et revus? "

MHF : " En parallèle à la création des e-books, les élèves lisent les articles des autres groupes (pour stimuler la collaboration, le partage et l'écoute) : ils rédigent leurs remarques sur "Padlet"."

http://wallwisher.com/wall/our-environment-2A-2

CR : " Impressionnant, j'adore l'interactivité de ce mur! Merci, Marie-Hélène, d'avoir partagé ce projet avec nous. "

Et ceci n'est qu'une présentation rapide ! Pour en savoir plus sur ce projet, voyez ce diaporama bien plus complet et détaillé :

http://www.forum-nantes2013.net/upload/31/diapo-forumnumrique-130[...]

ou le padlet des élèves :

http://padlet.com/wall/2a-short-story

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Marie Hélène Fasquel : " e-books & the environment"

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Marie Hélène Fasquel enseigne l'anglais au lycée Lycée Giraux Sannier de Saint-Martin-Boulogne dans l'académie de Lille. Vous avez pu la découvrir sur la liste e-teachnet, dans le n°134 du café pédagogique, au travers de ses publications.

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Journées nationales de l'innovationde l'UNESCO

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Maud Fontenoy Fondation - Défi national lycée Changer le monde grâce à la mer : devenez spécialiste en ENR et inventez l'énergie de demain !

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Imaginez un projet futuriste, citoyen et solidaire !

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From Aerogramme Writers' Studio, via Adafruit. My favorite is #13: "Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th - get the obvious out of the way. Surprise yourself."

These rules were originally tweeted by Emma Coates, Pixar's Story Artist. Number 9 on the list - When you're stuck, make a list of what wouldn't happen next - is a great one and can apply to writers in all genres.

1. You admire a character for trying more than for their successes.

2. You gotta keep in mind what's interesting to you as an audience, not what's fun to do as a writer. They can be very different.

3. Trying for theme is important, but you won't see what the story is actually about til you're at the end of it. Now rewrite.

4. Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

5. Simplify. Focus. Combine characters. Hop over detours. You'll feel like you're losing valuable stuff but it sets you free.

6. What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

7. Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

8. Finish your story, let go even if it's not perfect. In an ideal world you have both, but move on. Do better next time.

9. When you're stuck, make a list of what WOULDN'T happen next. Lots of times the material to get you unstuck will show up.

10. Pull apart the stories you like. What you like in them is a part of you; you've got to recognize it before you can use it.

11. Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you'll never share it with anyone.

12. Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th - get the obvious out of the way. Surprise yourself.

13. Give your characters opinions. Passive/malleable might seem likable to you as you write, but it's poison to the audience.

14. Why must you tell THIS story? What's the belief burning within you that your story feeds off of? That's the heart of it.

15. If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

16. What are the stakes? Give us reason to root for the character. What happens if they don't succeed? Stack the odds against.

17. No work is ever wasted. If it's not working, let go and move on - it'll come back around to be useful later.

18. You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

19. Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

20. Exercise: take the building blocks of a movie you dislike. How d'you rearrange them into what you DO like?

21. You gotta identify with your situation/characters, can't just write 'cool'. What would make YOU act that way?

22. What's the essence of your story? Most economical telling of it? If you know that, you can build out from there.

MIT Tech Review's Antonio Regalado rounds up the year's stupidest, worst moments in tech, from the guy who created his own CRISPR-based gene therapy to beef up his muscles and injected it to Donald Trump's Twitter feed to the FCC's Net Neutrality catastrophe. Of course, Juicero rates a mention.

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From Aerogramme Writers' Studio, via Adafruit. My favorite is #13: "Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th - get the obvious out of the way. Surprise yourself." These rules were originally tweeted by Emma Coates, Pixar's Story Artist. Number 9 on the list - When you're stuck, make...

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Liens vers les travaux des élèves et vers nos outils en ligne.

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The short story terms & definitions presented provide you with a glossary of vocabulary to assist you in reading, analyzing and writing short stories. These terms will also be the source of questions related to the assigned short stories and their assessments. On Day 7 you are required to be prepared to discuss examples for each of these terms from any of the combined stories in group 4 as these stories are used to comprise the questions on the short story exam later in the quarter. Label the term and provide the example and the story which the example that you selected appears in.
FOR EXAMPLE: Protagonist- The protagonist in "Miggles" is Miggles, the attractive woman who lives with her invalid partner.

genre:a form or category of literature, such as epic, tragedy, comedy and satire.

fable: a short, unadorned prose fiction that teaches a moral lesson. Often animals are characters.

parable: a short narrative that illustrates a moral, philosophical or spiritual lesson. A parable may be allegorical. E.g.: the parable of the prodigal son (Luke 15:11-32).

tale: a short narrative, usually lacking in detail, with unrealistic and sometimes fantastic characters and events. Usually tales are less concerned than short stories with revealing theme and character. The term tale has connotations of timeless folklore. E.g.: "Jack and the Beanstalk."

realism: as a term in literary history, realism refers to fiction and drama of the late nineteenth century that concentrated on ordinary middle-class existence and its daily concerns like money, society, and marriage. The characters are bankers, farmers and housekeepers, not swashbuckling pirates, gallant knights, or supernatural beings. In a more general sense, realistic refers to a manner of representing life; it is the opposite of romantic.

short story: a short prose fiction usually depicting a single incident (unlike most novels). A newer form than the novel, the modern short story dates from the early nineteenth century.

story of initiation: a short story depicting a decisive incident that initiates a character into a higher state of awareness, whether for better or for worse. E.g.: John Updike's "A & P."

theme: a term used in different ways: for the main idea (but not necessarily the subject) of a work of literature; an idea which a work explores; or an argument that a work advances. Therefore, a theme can be identified in a complete sentence, a noun phrase, or a single word: in George Orwell's Animal Farm, "the corrupting influence of power," "power," or "Power corrupts."

protagonist: main character. A more general term than hero; not all protagonists are heroic.

antagonist: a character (or sometimes a thing) in conflict with the main character or protagonist.

conflict: the central problem or issue to be resolved in a plot, involving the main character struggling against another character(s) or obstacle (e.g., Janie's pursuit of love in Their Eyes Were Watching God). Conflict can also refer to the ideas in a literary work (e.g., "The Road Not Taken" dramatizes the conflicting values of conformity and independence).

exposition: the revelation (usually early) in a story or play of necessary background information.

setting: the location of a story. It may be important in developing character, motivation and meaning. In To Kill a Mockingbird Harper Lee carefully establishes what Maycomb is like.

foreshadowing: a hint that is fully understood only in retrospect after the reader discovers more information later in the plot. The term does not simply mean an omen or an explicit prediction of something that will happen later. Foreshadowing is always a noun; foreshadow is a verb.

climax: the high point of tension in a plot, when the outcome is decided.

dénouement (DAY-new-MAW), resolution or conclusion: the scene in which a plot reaches its final outcome: mysteries are solved, questions answered, and the main conflict settled.

epiphany: a sudden moment of realization in a story or play, often triggered by a mundane event. Originally a religious term for a worldly manifestation of God's presence.

flat character: a one-dimensional character who has only a few, easily defined traits. Most minor characters are flat. Not to be confused with a static character.

round character: a multi-faceted character, especially one who is capable of choosing right or wrong. Usually a protagonist is a round character; in most short stories no more than one or two characters are round. Not to be confused with a dynamic character.

dynamic character: a character who changes, especially one who comes to a major realization. The realization may or may not change the character's actions, but the character must never be able to see the world in quite the same way. Not all protagonists are dynamic. Rarely does a short story have more than one or two dynamic characters.

static character: a character who undergoes no such change.

stock character: a character type used repeatedly, often a stereotype like the mad scientist of horror stories or the blonde airhead of teen movies. Stock characters are usually encountered in popular fiction. However, excellent writers have sometimes used stock characters in original ways.

symbol: a thing that suggests more than its literal meaning. A symbol can be a thing (e.g., the flowers in "The Chrysanthemums") or an action (Sammy's punching the No Sale tab at the climax of "A & P"). Recurring images (such as light in "Araby") can take on symbolic overtones. Symbolism is the collective function of symbols in a work, or an author's use of symbols.

point of view:the perspective from which a story is narrated. The author can choose among various possibilities. Second-person narrative is possible, but two classes are common:
third-person or non-participant narrator: a narrator who is not a character.
objective: narrative that only describes and does not enter characters' thoughts.
limited or selective omniscience: narrative that sees into one (major or minor) character.
omniscience: narrative that sees into different characters. In editorial omniscience, a variant of omniscience, the third-person narrator adds comments judging characters.
first-person or participant narrator: a narrator who is a (major or minor) character in the story.
ironic point of view: a first-person narrator who does not understand the implications of the story.
unreliable narrator: a narrator who misinterprets the story due to prejudice, madness, etc.
naïve narrator: a narrator who is too innocent to understand the story fully.

Local color or regionalism: in literature refers to fiction or poetry that focuses on specific features - including characters, dialects, customs, history, and topography - of a particular region.

Setting: When and where a story occurs

allegory: a narrative that serves as an extended metaphor. Allegories are written in the form of fables, parables, poems, stories, and almost any other style or genre.

alliteration: a pattern of sound that includes the repetition of consonant sounds.

allusion: a reference in a literary work to a person, place, or thing in history or another work of literature.

antagonist: a character in a story or poem who deceives, frustrates, or works again the main character, or protagonist, in some way.

flashback: "an interruption of the chronological sequence (as of a film or literary work) of an event of earlier occurrence"

irony: a literary term referring to how a person, situation, statement, or circumstance is not as it would actually seem. Many times it is the exact opposite of what it appears to be.

Dramatic irony: when the reader is aware of something that is going to occur in a story that a character is unaware of.
Verbal irony: when the writer says one thing but means something entirely different.

motif (moh-TEEF): a recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil

diction: the intended language used by an author in order to create a greater sense of locale

tone- the attitude the author expresses of his/her topic

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Short Story Literary Terms & Definitions - Mr. Dwyer

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The short story terms & definitions presented provide you with a glossary of vocabulary to assist you in reading, analyzing and writing short stories. These terms will also be the source of questions related to the assigned short stories and ... Continue reading →

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- Read the 2 short stories about the environment.

2-  Read Mr Jones and answer the questions.

3-  Brainstorm ideas for your own short story (setting, characters, plot, and so on).

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The online ebook will be a collaborative creation and will be made up of texts written by the students (articles, opinion essays, poems, short stories), pictures (taken by the students and which will be the starting point of the project and of the students discussions, and other pictures), videos (made by the students).This ebook will be shared with the partner's students who will comment on it and interact with the French students.