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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 you prefer to read? () A) s
cience b) literary c) history d) social e) sports f) 3 .- What other genre you p
refer to read? () A) book b) tell c) comic d) verses 4 .- How often do you read
books? () A) 1 week b) 1 month c) 1 every six months 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.

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