READING AND WRITING We take a stage in which the subject we will deal with the r eading but not

the interpretation of graphic symbols without understanding, but one which leads us to be able to produce any writing after reading a text creati vely. This is a fragment which will review the basis for this study. ¨ A MODELS THROUGH THEM AND AFTER ¨ Fragment of the pedagogical "Improving the use of langu age in the college student" Mtra. Araminda Turrent R. READING Reading is not onl y interpretation of graphic symbols, is also getting the message , the meaning o f what is written, the author's intention, is the ability to make a critical ass essment and formulate an approach after reading, is to grasp the teaching of one and another book read and generate their own idea also is the ability to create something after reading. Reading according to several authors have different st ages ranging from the interpretation of graphic symbols to a critical issue thro ugh analysis, for example one of the authors that I think is an accurate classif ication of reading is Miguel de Zubiría makes the following classification: • • • • • • Phonics: Analysis and synthesis of primary decoding phonemes: Meaning of words. Decoding Secondary: Finding the underlying propositions in the sentences . Decoding tertiary. Find the basic structure of categorial reading text ideas: Find the structure and derivative plot trial Reading goal semantics. contrast with the author's work, society and culture pro ducts. You could add a seventh step: • Reading creative, that after following th e above steps the subject is able to generate, produce, create and recreate some thing personal, that having absorbed the different thoughts and styles can produce their own thinking and pe rsonal style. In this part of our ongoing drafting exercises will make reading and analyzing e ach stage of the above, so that we can finally produce a creative product and co mpletely personal. 7 PRACTICAL STEPS TO ACHIEVE THE CREATIVE READING Each day th e reading is less practiced by the young and in general for many people and this is due to several factors, among others is the fact of expensive books and that the paper industry is in crisis and therefore publishers. Another is that educa tion programs do not adequately promote a taste for students in reading, and wor se yet do not develop all stages of getting reading so many young people are abl e to interpret graphic signs but not to understand what read and therefore what they study. It is important to consider young people about the need to practice reading in their seven stages in order to study better and have greater access t o culture. Encourage them to read through the practices and ultimately achieve t hat after reading are able to write something original. The topics to be discuss ed will be: 1 .- reading process 2 .- Theory of the 6 readings Zubiría Miguel Sa mper phonics 2.1 2.3 2.2 Primary Decoding Decoding Decoding secondary tertiary 2 .4 2.6 2.5 readings Categorial semantics Reading 3.-Reading Goal Creative 3.1 In sert the reader to work deep into the work 03/02 establishing direct contact wit h its elements. 3.3 The creative reading and educational possibilities of person ality in terms of: a) Moral values b) The rational c) Drafting d) The acquisition of culture 4 .- write through the models and after them. 4.1 Reading Comprehension 4.2 incu rsion reading through: a) The author b) Characters c) The atmosphere d) Language 4.3 Creating a result of reading through writing. 1 .- THE PROCESS OF READING. The man is surrounded by signals, each signal is a text that refers to a meaning, each meaning dimension makes sense and each of us according to our use of it. Consequently we are surrounded by texts that we use to interpret reality. These texts are of very different nature as presented in the previous module. We interpret reality through our perception, the man percei ves through his senses, so better understand the textual universe around us if w e develop the ability to read with the five senses. When the means by which we i

nterpret or communicate the reality is the written word then the speech circuit and making known to us other dimensions: The instrument of the issuer to prepare is to write the message. The receiver is the instrument reading€to interpret th e message. The word reading has a double meaning: The action of the verb from wh ich it comes. The product or result of his action. To understand this double mea ning of the word see etymology: The word reading is the supine from the Latin ve rb "legere" whose primary meaning is "select" "select". Therefore reading is: Th e construction and selection of a message is received in writing. For there is not enough reading to interpret graphs or phonemes, is required to capture the individual meaning of each word, understand the denotative and conno tative meanings of all sentences make a selection of ideas, to analyze, compare, and finally be able to create so mething of their own after reading. There is a wide range of classifications of reading in general agreement on the point of that reading has several stages thr ough which one must pass to say at the end who knows a read. 2. THEORY OF THE SI X READINGS SAMPER MIGUEL Zubiri. The author is a psychologist at the Universidad Javeriana in Colombia, is now scientific director of the Fundación Alberto Mera ni for the Development of Intelligence. In his book called ¨ Theory of the six r eadings ° makes a classification of the stages that you have to go to achieve to tal mastery of reading which I believe is very specific and that includes almost all of the process so I decided to take it as support for this course. The theo ry of reading proposes the following six stages: 1. Read words phonics through a nalysis and synthesis of phonemes, is a sequential process analytical cycles / s ynthetic. SUMMARY ANALYSIS LEC-ture-ture reading lessons synthetic analytical me chanism, this is the process that follows a phonetic reader. The phonetic mechan ism acts as follows: • • • Disarm the word in its primary components. (Phonemes and spellings) Reassemble the phonemes / graphemes in syllabic units Reach for w hole words by joining syllables. In an adult might seem easy because he has learned to identify whole words as un its of perception. 2. PRIMARY deCodIng Determines the meaning of words. Its purpose is to convert words to their percei ved concepts and this is based on the following mechanisms: • • Lexical Recovery Sync - Synonymy: matching terms in reading with similar terms k nown. unknown • Contextualization: Tracking the possible meaning of unknown words using the cont ext of the sentences in which these terms appear. Filing: Breaking down the word into its parts analyzing each part to investigate its meaning. • 3. SECONDARY deCodIng comprises a set of mechanisms aimed decoders extract the t houghts contained in the sentence. • The score: The player must set the length of each sentence, ie to establish thei r beginning and end. The phrases and sentences are separated by punctuation mark s which consists of various functions. Pronominalization: decode words and use o f pronouns that replace linguistic elements mentioned above. The chromate: Altho ugh most of the readings affirmative or negative phrases abound, the more sophis ticated linguistic language exists becomes more chromatic. The perhaps, perhaps, by such expressions appear and relativizing the writer he can reflect a range o

f shades and colorings. Propositional inference: Propositions are statements or disclaimers, accepting thoughts degrees between the categorical statement and ca tegorical denial. • • • 4. TERTIARY deCodIng texts generally have a semantic structure, ie an organizati on of interrelated propositions, through a variety of connectors between proposi tions. In this decoding can be found: macroproposition. In our language is commo n to use more words than necessary, in many cases the texts have a level of redu ndancy. The redundancy prepositional phrases around with phrases secondary main. In its written proposals are meaningful and meaningless self, some of them could be eliminated without altering the meaning. Semantic Structure. The actua l readings are composed macropropositions systems or structures, related by temp oral links of causation, intentionality. Then the decoding tertiary expose this structure. Models. It remains to develop an outline of the propositional system discovered. 5.€Its purpose Categorial READING define or identify the backbone of the thesis or essay, on which are articulated the other propositions or thought s. It must discover the categorical organization, analytical studies whether or not thesis provided fits with the rest of propositions. 6. DeCodIng METASEMÁNTICA I ts purpose contrast, placed in correspondence or contrast the work with three ex ternal actors read the text: • • • The author's society in which they live. The remaining letters That is, set a goal (beyond) semantic: the socio-cultural circumstances of the i ndividual and the critical and / or style. When the reader has gone through each of these stages starting from the analysis and synthesis of phonemes, decoding of words, sentences, paragraphs, and finally playing the thesis by analyzing and comparing and has achieved a very good development of reading that will allow s tudy better advantage of reading in its entirety and will only miss the last ste p: creative reading. 7. CREATIVE READING Reading for the soul of man should be l ike food for the body and food should be selected so that the body has a balance of vitamins you need also the readings should be carefully selected, planned an d dosed so that form the philosophical source which sustain the values of the in dividual. To achieve a creative reading can also follow the above steps then do what you have: ENTER THE READER IN THE WORK. To achieve a creative reading should venture bey ond criticism or confrontation judgments and author, it is necessary that the re ader enters the book, browse its moments, environments, lives with his character s, dialogue with them, opine , taking sides, you need to find other end, other a ctions, enter characters, change rooms, for them to follow a process whose path can be: Once students have achieved the earlier stages of reading, if it was careful to go slowly titrating their readings, whether these were planned logically conside ring the age and mental development of each individual, if it satisfies the pref erences of each student and started to read masterpieces of the item he wishes, it's time to start the final stage which will enable, read what the person becom es part of yourself and create other works result of the stock of items, mode ex press ideas, to fail to produce their own language, original, rich in metaphors and images, capable of arousing the sensibilities of others, to cause his aesthe tic taste. This reading was made when, after reading the student through exercis es such as: Establish contact with the characters by analyzing them, write lette rs, make interviews, draw, faces them, create new shares, described in terms of

the whole work change the beginning or the end, add characters, add chapters, ch ange the physical environment, to express through photos, murals, collages, post ers, on the way to change some dialogues or altering the style descriptions usin g different adjectives metaphors, changing forms of expression of the characters , changing the time using the vocabulary etc.. will exercise as much as possible have the creative imagination of the teacher and student, this will result in t he student be able to produce essays, novels, short stories, verse, when he does have a style that identifies you, when it is achieved judgments non-critical va lue without foundation. Until then the readings will allow us not only talk abou t the issues read, or give their opinions, but to create theories, new concepts, build roads. The process of reaching this stage is the result of developing eac h of the past and use logic. When a student is able to read and compare a work, analyze it, discuss it, make judgments, then it has absorbed enough and this sho uld be done with the greatest number of works that are possible, more is better. Following these readings must be clear about what you want to produce: e ssays, novels, short stories, poetry, etc. And bear in mind the styles of writin g required. Then it will run your pen in a first approximation where according t o the kind of writing will be developed for example: if you write a play must wr ite the argument, make a personal record of each of the characters, writing the set design, if you write verse, to be clear terminology to be used and the type of verse written,€if you write novels, make your notes with files on the charact ers and history etc. plan. In a second approach, reading aloud to note that the ideas can be understood clearly, analyze their characters if they are really kee ping the particular characteristics has given each test will check if the ideas that have wished to express are sufficiently supported, and so on. After you ent er a stage of analysis of language, which as a symphony should fit the text, wit hout having discordant notes with the necessary speed. Finally review your style, if words are used grammatically according to the rule s of language of the academy of language, country style. Finally, his writing is clean, be a product of a long process that started reading phonetically and was gradually introduced to the world that we are filled with ideas, words, concept s, meanings and ultimately our spirit sufficiently fed and exploited in the crea tion, sublime moment that the man conscious of it can enjoy to the fullest. CREATING AND READING YOUR PERSONALITY TRAINING OPPORTUNITIES. In addition to c reative reading directed his steps towards the ability to produce after reading, this practice also involves various possibilities to develop the personality of the reader. One type of opportunity exists in the field of moral values, also o ffers favorable circumstances with the psychological. Another aspect is that rel ated to alertness and fitness of the mind, the rational. Also, the enrichment of the expressive means through skill requirement of reflective writing and recrui tment and expression of beauty. Another plus would be that this reading provides a means purchasing culture. a) In terms of moral values. There is no doubt that the work to a greater or les ser degree raise issues that put readers in the field of moral values, with the teacher's guide are made psychological observations of the characters, environme nt, actions that allow the teacher even learn more about their students. The tea ching should be founded on a basis of humanity in which the student feels known and recognized as a person, with name and individual characteristics. It is also possible to draw some conclusions common to all adolescents, in terms of prefer ences, ways to react and act against certain stimuli raised as problems in which students have to make a decision. It is spring broad moral system to be put int o play and many opportunities to act in the field of values that this reading gi ves the teenager. In many cases some items placed on the need for students to ex press their preferences in terms of circumstances, procedures, events, people, f ace to resolve situations, to give greater or lesser emphasis on ethical issues, to suggest sanctions or stimuli, to demonstrate objectivity to judge or apprais

e facts, express their measure of literary-location in human affairs. In short, students will have to choose, justify, select, prefer, reject, punish, accept, e tc., In short they have to choose. This option gives them the opportunity to grow, to shape their personality, to e xpand its capacity to judge, to learn to value human beings, to judge and judge themselves, in short, to create their own criteria. b) In terms of rationality a t this level the above analysis certainly exercises the mind and spirit, sharpen s the intelligence in several respects, develops their logical thinking, practic al sense, his qualities to bring balance between reality and unreality, their ca pacity for imagination and fantasy, originality and wit, his powers of observati on, memory, and projective possibilities of creation. Readers then must develop thinking skills, analysis, synthesis, reflection, observation, relationship, etc . that will give you the ability to take a consistent position in his life, allowing you to make a free and conscien tious choice. This choosing or deciding, in any field of values is the most hone st to speak out, to exist and to signify settled as thinking beings acting on sp iritual imperatives, and that the more lucid and sharp is the mind by the exerci se of reason, we are likely to know how to choose. c) In terms of writing. As th e student handles the creative reading develops a progressive enrichment of the means of expression in written language,€increased linguistic flexibility to sug gest ranges, tones, attitudes and greater ownership to reproduce and refine situ ations. By reading more, students acquire a larger vocabulary which gives them g reater elements of expression in drafting the language development in the field of semantics and syntax unfold more smoothly, with greater possibilities. As the student enters in reading more creative, their enthusiasm grows, their experien ce of the situation are well established and is increasingly introduced into the wonderful world of creation, of writing. Penetrating in this way works, doing s tories on first and third person, even in the difficult second person, in the au tobiographical monologue, the letter real or imaginary, abstract summary signify ing the different outcome, the physical and moral portrait, the snapshot, illumi nating explanation of a topic, a situation or character, narration, imitation, t ranslation to similar situations, real or imaginary description, dialogue, conve rsation, interview, interrogation, critical thinking, The report etc. the attitu de of the narrator in the play, either as a person omniscient narrator hidden ob jective narrator or narrator-character, it is undeniable that allow the student to absorb the language of masterpieces, and extrapolate to yours so that you can become a creator. d) In terms of acquisition of culture. It is easy to understand the important ro le of creative reading as a means to enrich culture. This constant exchange of w orks read, issues of access to competitive jobs or reenactors, approaches to div ersity or depth, expression of different temperaments and personalities, poses r eal and ideal, spirit and mind of young people is enhanced, allowing have widening their knowledge and real world view and cultural values. "After establi shing a contact of this nature with the works, they will no longer be exclusive to the man who wrote, but that will be shared with the reader forever collaborat or." Said Maria Hortensia Lacau in his work, curriculum creator. Once you've don e the reading of the topic, it is important that you answer some tools that let you know what is the use of language, reading and writing your knowledge to star t our study and therefore the correction of the language you use . CREATIVE STEP S FOR READING 1 .- 2 .- Reading Speed reading selective (Underline main ideas) 3 .- Clarify unfamiliar terms or equivocal four syntactic-semantic organization . - 5 .- Organization through concept maps, summary tables, charts etc. 6 .- Trans late to your own words the information 7 .- compare it with the map or table sho wing 8 .- Read it out loud 9 .- Formulate some questions as: What are you talkin g about? How, where, when, how ...?

LEXICAL WRITING EXERCISE IN THE PARENTHESIS believed to be correct. THE POINT OF THE RESPONSE TO 1 .- Speaking Fillers often used ° ° What use most often? a) this b) or c) anyth ing d) good e) a good f) not use any crutch (((((()))))) 2.-In your vocabulary, what kind of words you think you dominate?: () A) culture d b) technical c) insults or vulgarity d) 3 .- foreign words to the dictionary? () A) always b) sometimes c) never 4 .- From the list of words that blemish Here are the most use. a) format b) defaul c) wey d) fax e) butear f) access g) dele te h) read i) write j) understand k) report l) objectives m) message n) friendsh ip n) union READING EXERCISE 1 .- Do you like reading? () a) yes b) no c) sometimes 2 .- What kind of books do cience b) literary c) history d) social e) sports f) refer to read? () A) book b) tell c) comic d) verses books? () A) 1 week b) 1 month c) 1 every six months you prefer to read? () A) s 3 .- What other genre you p 4 .- How often do you read d) 1 per year

CAREFULLY READ THE FOLLOWING FRAGMENT AND RECORD IN THE PARENTHESIS the letter t hat corresponds to the correct answer. THE SHADOW OF THE GIRLS IN FLOWER. (Excer pt) Marcel Proust As Andrea was very kind to me, by the way he was saying Albertina everything seemed right for me it appropriate. Andrea told me she loved her too much, it was lovely, but yet my praise of her friend she did not seem very funny . Suddenly the little way to go in ravine, I was thoughtful, struck to the heart by a memory of childhood,€recognize just cut the leaves showing dark and bright side blanket white hawthorn flowers! ay! since last spring. I floated around th e atmosphere of stale months of Mary, Sunday afternoons, belief and errors given to oblivion. I wanted to steal this atmosphere. 5 .- The theme of the piece is: () a) longing for the past b) science fiction c) loneliness d) selfishness 6 .- The reading can be divided into several stages: () a) 1 point b) 2 times c) 3 times 7 .- What characterizes the character psychologically? () A) bitter b) selfishne ss c) sensitivity EXERCISE OF WRITING: WRITE IN THE PARENTHESIS THE POINT OF THE RESPONSE you thin k is correct. 2.-To write an essay we have to consider the following parts: () a) introduction , argument, proposition, conclusion b) beginning, middle and end. c) introductio n, characters, conclusion 3 .- When writing a story we should consider the following parts: () a) introduc tion, physical environment, characters. b) introduction, middle and end. c) intr oduction, argument and conclusion 4 .- Which of the two proposed forms is correct? a) Funding a) liquefies a) contradict b) finances () b) blend () b) contradict () 5 .- Which of the following statements is correct? () A) It is difficult to pass

b) It that still does not know c) I am convinced that this is so Contrast your answers with the key then show, then as you know in the use of rea ding, vocabulary and writing exercises to advance Onteanqui 24. RECORD IN THE RIGHT PARENTHESIS your score YOUR ANSWERS BY, SUM, contrasting the RESULT. GLOSSARY 1 .- When speaking frequently use "crutches" What use most often? f) 5 points () a) b) c) d) e) 1 point. 2 .- In your vocabulary, what kind of words yo u think you dominate? a) b) 5 points () c) 1 point d) 3 points 3 .- Do you consu lt the dictionary? a) 5 points b) 3 points c) 0 points 4.-From the list of words that blemish Here are the most use: h) read 5 points () and) write j) understan d k) report l) objectives m) message n) friendship n) union a) 3-point format () b) defaul d) fax e) butear f) access g) delete c) wey 1 poi nt () READING 1 .- Do you like reading? a) 5 points () b) No 1 point c) Sometime s 3 points 2 .- What types of books you prefer to read? a) Scientists 5 points ( ) b) literary c) history d) social e) sporting 3 f) 3 .- What other genre you pr efer to read? a) novel 5-point () b) tell d) verses c) comic 3 points 4 .- How o ften do you read books? a) 1 week 5 points () b) 1 month c) a 3-point every six months d) 1 year 1 reading comprehension section 5 .- The theme of the fragment is: a) 5 points longing () b) science fiction one point. c) loneliness d) egoism 6 .- The reading can be divided into several stages: a) 1 point 1 point () c) 3 times b) two times 5 points 7 .- What characterizes the character psychologically? a) bitter one point () b) selfishness c) sensitivity DRAFTING 5 points 1 .- To write an essay must bear in mind the following parts: a) introduction, argument, proposition, conclusion. 5 points. () B) beginning, m iddle, end. 1 point c) Introduction, characters, conclusion 2 .- When writing a story we should consider the following parts: a) introduction, physical environm ent, characters. 1 point () c) introduction, argument and conclusion. b) Introdu ction, middle and end. 5 points 3 .- Which of the two proposed forms is correct? b) funds five points () b) c blend) contradict 4 .- Which of the following state ments is correct? c) I am convinced that it is. 5 points () contrast your result s with the following table, the more points better handle the language, fewer po ints need to take into account the need to seek support. The maximum score is: 2 0 points Vocabulary, Reading 20 points, 15 points Reading Comprehension, Writing 20 points, 75 TOTAL Thursday May 29, 2008 Flavio Ramón: TEACHER'S DAY ... BE OR NOT TO BE. Universality is one of the main features of philosophical knowledge, goes beyond the knowledge of particular things, and even the generalities that can be set i n a specific area of reality and aspires to know the essence of things, what exi sts in isolation from the circumstances in which they arise. However, the philos ophy as a reflexive, rational, rigorous and critical bases its bases in particul ar. Reflective thought is that under review, analyze, criticize and evaluate. Cu rrent teaching, except decent exceptions, not philosophy: we have become the edu cational process in a mechanical activity,€improvised and cold, despite advances in educational research and many training programs in recent years. We have for gotten, we are not interested or do not know how to give a teaching that in addi tion to reporting, form. The student generally receives information, builds theo ry, but is not able to use appropriately the criticism and theory, not to think for yourself and take a stand against reality and knowledge itself. This bad att

itude educator encourages passivity, dependence and conformism making the studen t stunned a zombie or mental (as expressed by the psychologist Zubiría Colombian Miguel Samper). Coupled with the reality of teaching referred to, the student r emains in a sad: heinous television programs (Ventanas, ear, or "Tarabobelas" as the mentor the upright Tuxtlas Aguirre Luna), broken families (thousands of civ ilians seeking the American dream) political systems aimlessly and corrupt teach ers' unions, leaders of influence peddling. What should be the attitude of the t eacher then? The attitude of teachers has to be, at all times, to motivate the s tudent to act always by himself, "that your pupil" said Rousseau, not because he knows something you said, but because he has understood itself , who will not l earn science, but believes that, long live the process and becoming. " In other words, learners have to create thoughtful, rational and critical (ie philosopher s). A good teacher should not tell what they know, but play their own act of kno wing, that they not only accumulate knowledge and make exercise speculation and intellectual gymnastics, but always covering immediately the activity of reason, emotion and action in the production of knowledge, because science without cons cience, Pascal said, is the ruin of the soul. In short, the type of teacher we w ant to be dependent on the values we choose to profess. Of course those who want to become reflective and critical will face, inevitably, to the tyranny of the majority and disregard for the fainthearted. No doubt. Carolina Cruz Veracruz journalist explains clearly when he discusses how serious would be the absence of criticism: "Quitting is to stop thinking criticize. You lose that freedom and ability, supported by ethical and aesthetic values, not p olitical, "using the criterion itself, to show an abnormality that occurs in the environment in which to unfold the decline crítico.La criticism is a result of management media, from subordination to the powers, educational failure, the abs ence of references, of passivity and indifference of the human, intellectual laz iness, complicity, comfort, camaraderie, cronyism and nepotism, among Many other factors have come to give contrast to a trade so necessary in society. Currentl y there is little criticism is always bland and often gets praise. Nobody wants to play a critical role for two compelling reasons: the first has to do with tra ining: the critic must be a specialist in constant growth, in its depths know th e topic it addresses, but the second reason is the most powerful: the critic wil l always be a lonely and despised for daring to point out the truth. Who would l ike to play that role funeral? "Posted by Peña Literaria de Santiago Tuxtla, Ver acruz. Mexico. at 7:51 a.m., July 10, 2008.