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Louis Review Center – iPod  blown-out – become ruin
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Content Course - English
Figures of Speech
1. Hyperbole - Exaggerated for emphasis
Ex. “If I don’t eat something right away, I’ll starve!”
2. Metaphor - Makes a comparison between two unlike things that have
something in common
Ex. “Life is a struggle, dying is losing a contest against an
adversary.. “
3. Personification - Human qualities are attributed to an object, an
animal or an idea
Ex. “Diamonds are a girls’ best friend.”
4. Simile - Stated comparison between two things that are actually
unlike but have something in common
 Involves the words “like” or “as”
Ex. "His arguments withered like grapevines in the fall."
5. Irony - This expression normally signifies the opposite, typically for
humorous or emphatic effect
Ex. "He's handsome if you like rodents."
6. Euphemism - is a substitution of an agreeable or less offensive
expression in place of one that may offend or suggest something
unpleasant to the receiver
Ex. He lost the game.
7. Onomatopoeia - Words that imitate sound
Ex. “Broom! Broom!”
8. Metonymy - Uses substitution or representation of something that is
associated with
Ex. Crown for “royalty”
"He writes a fine hand" meaning good handwriting
9. Paradox - Statement that seems to contradict itself
Ex. "The swiftest traveler is he that goes afoot.”
"War is peace."
10. Oxymoron - Uses contradictory terms in the same phrase
Ex. “right mistake”
“an honest liar”
“servant leader”
11. Synecdoche - This states a part to represent a whole or vice versa
Ex. “ten brilliant minds” is used for ten intelligent people
“wheels” describing a complete vehicle
12. Alliteration - This is the use of the same letter or sound at the
beginning of closely connected words.
Ex. “The hare habitually hibernates.”
“All power, prosperity, as well as pain will be yours.”
13. Assonance - This is an expression composed of several words
having the same vowel sounds.
Ex. “haste makes waste”
“ make or break”
14. Ellipsis - An unnecessary words or words in the middle of the
sentence to produce a dramatic effect.
Ex. “I did not mind until…”
15. Litotes - An understatement in which an affirmative is expressed by
the negative of its contrary.
Ex. “not bad” means good
“She was not so unkind” means “She is kind.”
Idiomatic Expressions - an expression whose meanings cannot
be inferred from the meanings of the words that make it up
 Eat like a horse – have a healthy appetite
 As good as her last triumph – can’t be good all throughout
 Work like a Trojan – work hard
 Dutch courage – courage which one gets from drinking
alcohol
 Keep up with the Joneses – to imitate others in
extravagance
 Beats around the bush – avoids main topic
 Dose of her own medicine- suffered the consequences
 Put one over you – to deceive you
 on all force – stumble with your hands on the ground
 to hold one’s tongue – to be silent
 I will play your game – I’ll do what you’re doing, to be fair
 push to the wall – there’s nothing more I can do
 turn the table – change
 on the square – let’s be honest
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 Beauty is in the eye of the beholder - different people will
find different things beautiful and that the differences of
opinion don't matter greatly.
 Beauty is only skin deep - appearances can be deceptive
and something that seems or looks good may turn out to be
bad.
 hit below the belt - to fight unfairly
 bark up the wrong tree - to direct one's complaint to the
wrong person
 To kick the bucket - to die
 Bring home the bacon - to earn a living and make money for
your family to live on.
 waiting in the wings - waiting for an
opportunity to take action
 go the extra mile - you do more than what is expected of
you.
 cold war - war carried out by propaganda, trade sanctions,
etc.
 feeling blue – feeling sad
Parts of a Book
 Cover - To put something over or upon, as to protect conceal
or enclose.
 Spine-The back part of the book and it faces outward when
you shelf the book right.
 Title Page- The page at the beginning of the book, usually
containing the title of the book and the names of the author
and publisher.
 Copyright Page-Where the copyright date is found.
 Dedication Page- its the place where the author dedicates
the book to someone.
 Table of Contents-A list of the books contents, arranged by
chapter, section, subsection, Etc...
 Foreword- An introduction by someone other than the author,
and it is usually a famous person.
 Text (or Body)-The actual words of the book
 Glossary-A list of hard words with their meanings often
printed in the back of the book.
 Bibliography- A list of books, articles. used or referred by the
author at the end of the book.
 Index-A list of names and subjects in alphabetical order at
the end of the book
Parts of a Newspaper
 Headline – the most important news and latest developments
are featured here.
 Local and foreign news – news of lesser importance.
 Editorial – article written by the editor expressing opinion
about the latest developments or news of national interest.
 Feature stories – special stories about different fields of
interest.
 Articles of opinion or commentaries and views – articles
expressing the views and comments of writers or notable
personalities.
 Obituary – listing of persons who recently died, or of death
anniversaries.
 Fun page – includes puzzles and comic strips for
entertainment.
 TV and movie guide – a listing of movies currently showing
or about to be shown and movie reviews.
 Sports page – articles written about the latest news and
developments in sports.
 Society page – articles about the latest parties, weddings,
birthdays, and other happenings in society.
 Classified Ads – list of things for sale of for rent,
employments, business opportunities, etc.
RECOGNIZING CONTEXT CLUES
Use context clues in all your reading to improve both your vocabulary
and your general reading comprehension.
TYPES OF CONTEXT CLUES
1. Formal Definition
 Many plant rhizomes, underground stems or root systems,
offer an excellent source of nutritious food.
2. Familiar Words
The loud, shrill cries of the bluejays broke the early morning
silence as they raucously called other jays to the bird feeder.
3. Comparison
The monsignor, like a village priest, blessed the pilgrims at
the shrine with gentleness and compassion.
4. Contrast
His English students were more tractable than he had
anticipated; in fact, only his obstinate fifth-period class
resisted an appeal to participate in some choral reading.
5. Synonyms
Jack’s ignominious behavior was shameful and disgraceful.
6. Antonyms
His sisters reacted to Jack’s behavior differently. Angie spoke
of Jack with acerbity and anger, while Jessica spoke with
sweetness and love.
7. Summary
Shane was completely distraught. She could not find her
glasses; her papers were all over; she did not know how to
get to the vet’s office; but she had to get the injured puppy to
the doctor.
8. Previous knowledge of an associated word
San francisico, California, is located in an active seismic are.
Asking and Answering Questions
Asking and answering questions, a form of active learning, is an
excellent teaching tool. Posing questions to students breaks the
monotony of lecturing and increases active participation, understanding
and retention. Questions asked by students will clarify content and may
provide feedback on your presentation.
Asking Questions
When you ask a question, allow time for students to think of an answer.
Even though it may seem like an eternity, try counting to ten to yourself
in order to give the students adequate time to respond. Your silence will
usually encourage an answer. If no one has answered the question
after ten seconds and they are not making eye contact, try rephrasing
the question or providing a hint to prompt a response.
 Asking closed questions
Students need time to acclimate to the classroom and the
session. Closed questions require only "yes" or "no"
responses, and asking them at the beginning of a session can
help get the ball rolling and can give you an idea of how much
students already know about the library. Examples include
"Have you ever visited the library's Web page?" or "Can you
find journal articles in the library's catalog?"
At first students may not even feel comfortable enough to
answer a closed question. In that case, try asking the
question differently. For example, ask them to raise their
hands if they have visited the library's Web page.
 Asking open questions
Open questions require more complicated responses than
simply "yes" or "no." These are appropriate to ask after
students become comfortable with the session and with you
as an instructor. Examples of open questions include "How do
you find articles in the library?" or "What are some keywords
we could use to search this topic?"
 Encouraging students to ask you questions
In addition to asking specific questions, you want to
encourage students to ask you questions. You can do so by
letting your class know during the introduction that you want
them to interject and ask a question at any time. You may
also want to check in with students along the way to see if
they have questions. It is particularly useful to do so just
before moving on to a new concept because it provides an
opportunity to review the main points of the section.
 Using questions to determine what students have
learned
You can use questions to determine if your students are
grasping the concepts you are trying to teach. Depending
upon the rapport you have built with your class, try one of the
following:
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o If your class seems comfortable and has been
participating, you may want to simply ask if there
are any questions before you move on.
o If they are quiet or seem shy and reserved, you
may want to ask people to raise their hands or nod
if they understand the concept. If a number of
students do not raise their hands, you know you
need to go over the concept again.
o Ask the class to answer a question which sums up
the main points of that section of the session before
you move on. For example, if you spent time
discussing how to find articles if they are not full-
text in a database, you may want to ask "If I want to
find an article in the library, what do I search in
Library Catalog? The title of the article or the title of
the journal?" They will (hopefully!) all answer "the
title of the journal." This response indicates that
they understand the concept and reinforces it.
 Using repetition with questions
You can also repeat the same questions throughout your
presentation to ensure that students learn important concepts
from the session. For example, you can ask them "Can you
find articles in the Library Catalog?" By the third or fourth
time, all of them will have it down.
Answering Questions
 Paraphrase/Repeat
If someone in a class asks a question, paraphrase or repeat
back the question so that the whole class can hear it before
you answer it.
 Commend/Appreciate
It takes courage to ask a question. When a student asks a
question, compliment it with "That's an excellent question" or
"I'm glad you asked that." Make sure to answer these
questions sincerely since students usually know when an
instructor's response isn't genuine.
Making Inferences and Drawing Conclusions
 Read with purpose and meaning
 Drawing conclusions refers to information that is implied or
inferred. This means that the information is never clearly
stated.
 Writers often tell you more than they say directly. They give
you hints or clues that help you "read between the lines."
Using these clues to give you a deeper understanding of your
reading is called inferring. When you infer, you go beyond the
surface details to see other meanings that the details suggest
or imply (not stated). When the meanings of words are not
stated clearly in the context of the text, they may be implied -
that is, suggested or hinted at. When meanings are implied,
you may infer them.
 Inference is just a big word that means a conclusion or
judgement. If you infer that something has happened, you do
not see, hear, feel, smell, or taste the actual event. But from
what you know, it makes sense to think that it has happened.
You make inferences everyday. Most of the time you do so
without thinking about it. Suppose you are sitting in your car
stopped at a red signal light. You hear screeching tires, then
a loud crash and breaking glass. You see nothing, but you
infer that there has been a car accident. We all know the
sounds of screeching tires and a crash. We know that these
sounds almost always mean a car accident. But there could
be some other reason, and therefore another explanation, for
the sounds. Perhaps it was not an accident involving two
moving vehicles. Maybe an angry driver rammed a parked
car. Or maybe someone played the sound of a car crash from
a recording. Making inferences means choosing the most
likely explanation from the facts at hand.
Organize Your Ideas
 The purpose of an outline or diagram is to put your ideas
about the topic on paper, in a moderately organized format.
The structure you create here may still change before the
essay is complete, so don't agonize over this.
Writing Tips for Editorials and Persuasive Article Writing
Tips on Finding Editorial Topics, Getting Ideas, and Developing Style
and Tone
An editorial is a way for a reporter to get her own personal opinion into
a story, rather than the objective approach used with other newspaper
stories. Most newspapers don't offer steady editorial work to outsiders.
They tend to run editorials on a regular schedule, whether daily or two
to three times per week and these are normally written by the staff
reporters, though community leaders or experts in certain fields are
occasionally invited to craft an editorial. If you are called on to write an
editorial, there are a few things to keep in mind.
The first thing you should understand is proper writing style; you don't
need to compromise your own personal voice, but it is necessary to
have clear, concise writing. For article writing help and tips on how to
write using the Chicago Manual of Style or other popular writing styles, -
their products are perfect for beginning and moderately experienced
writers and are very effective for those who are just learning how to
write an editorial.
1. Keep the topic relevant. Finding editorial topics and getting
ideas can be among the largest challenges facing any writer,
but with editorials the process is often a bit easier than for
other types of writing. The topic of an editorial should
normally be about a current news story or event. This doesn't
have to be a major story or event, but it should be something
with a broad appeal to the readership. It may be that your
editorial ideas mainly center around local or national history -
that's not a problem! If you want to write an editorial about
something that happened in the past, wait for an anniversary
of the event to tie it to the present day. You can get writing
ideas by brainstorming with friends and family.
2. Use personal opinion. The main difference between an
editorial and a news story is that there is room to try to
persuade readers with your personal opinion. This should be
done in a rational manner, as with a standard news story, and
with attributed sources if needed. It is not enough to state
your opinion on a news story, but rather to use your opinion to
guide interpretation of the story.
3. Feel free to use emotion, but in a limited manner. An editorial
written out of anger or another strong emotion is not going to
hold the persuasive power of one written with a limited range
of emotion. I once wrote an editorial about greed and how it
was driving government officials in ways that I didn't approve
of. By simply expressing distaste and disappointment, the
editorial had more impact than if I had written an angry
missive about how much I hated the local government.
Strong, reactive emotion will turn off readers, while a more
personal and subdued emotional theme will draw readers in.
4. Use persuasive language. Persuasive writing is one of the
key elements of a good editorial. Using clear, active
language in your writing is far more persuasive than a weak
narrative that rambles. Get to the point.
5. Get your facts straight. While there is a limited protection
afforded by opinion pieces, there is still a chance of your
piece being construed as libel. If you are discussing people or
businesses in your editorial, be sure that all facts are correct
and are attributed. If you are writing negative opinions about
people or businesses, be sure to begin by stating that it is
your opinion. Opinions can be neither proved nor disproved,
and will not be construed as libel unless there is an obvious
component of malice to them. For this reason, never name
call.
6. Try to be entertaining. Keeping all of the above steps of
clarity, relevance and fact-checking in mind, there is still room
to write in an entertaining manner. Readers usually expect to
get more out of an editorial than simple facts, so don't
disappoint. Having a distinctive style is key in getting your
editorial noticed by editors and readers; you can develop your
own tone by taking time to hone your writing skills. One of the
best writing tips for opinion editorials is to use humor to
illustrate your points when appropriate.
Structure of Language
Simple Sentence
 A simple sentence is a sentence structure that contains
one independent clause and no dependent clauses.
Examples:
 The runner jumped.
 The singer bowed.
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 The baby cried.
Compound Sentence
 Compound sentence is composed of at least two independent
clauses. It does not require a dependent clause. The clauses
are joined by a coordinating conjunction (with or without a
comma), a correlative conjunction (with or without a comma),
or a semicolon that functions as a conjunction.
Examples:
 Jack wanted to go swimming, but his wife wanted to go
shopping.
 Her son studies History; her daughter majors in Chemistry.
Complex sentence
 A complex sentence is a sentence with an independent
clause and at least one dependent clause. The dependent
clause is introduced by either a subordinate conjunction such
as although, or because or a relative pronoun such as who or
which.
Examples:
 When I saw what you had done, I was sad.
 Independent clause: I was sad
 Dependent clauses: When I saw and what you had
done
 The worksheet is where you have put it.
 Independent clause: The worksheet is
 Dependent clause: where you have put it
Complex – Compound sentences
 A sentence with at least two independent clauses and one or
more dependent clauses are referred to as a complex-
compound sentence. It is sometimes called a compound-
complex sentence.
Examples:
 The cat lived in the backyard, but the dog, who knew he was
superior, lived inside the house.
 Independent clauses:•The cat lived in the backyard.
•The dog lived inside the house.
 Dependent clause:•who knew he was superior
 Though the movie had been tested on the market, The Last
Shadow did not fare well in the United States, but it did
develop a huge following in Europe, which usually does not
go for this movie genre.
 Independent clauses: The Last Shadow did not fare
well in the United States.
 It did develop a huge following in Europe.
 Dependent clauses: though the movie had been
tested on the market
 which usually does not go for this movie genre
Functions of Language
Informative Language Function
 essentially, the communication of information.
 The informative function affirms or denies propositions, as in
science or the statement of a fact..
 used to describe the world or reason about it
 sentences are either true or false
Expressive Language Function
 reports feelings or attitudes of the writer (or speaker), or of
the subject, or evokes feelings in the reader (or listener).
 Poetry and literature are among the best examples
 Two main aspects of this function are generally noted: (1)
evoking certain feelings and (2) expressing feelings.
Directive Language Function
 language used for the purpose of causing (or preventing)
overt action
 most commonly found in commands and requests
 not normally considered true or false
Forms of Language (types of sentences)
 g. the teacher must be a native speaker or have native - like
Usual Informative Expressive Directive proficiency in the target language.
Function Lear
/Sentence ning 3. Reading Approach – (a reaction to the problem experiences in
Type Ped implementing the Direct Approach; reading was viewed as the most
ago usable skill to have in a foreign language since not many people
assertion The room is I had a nice I would like gy: traveled abroad at that time; also, few teachers could use their foreign
/declarative cool. time. some language well enough to use a direct approach affectively class.)
coffee. This a. Only the grammar useful for reading comprehension is
is taught.
question But isn't this Isn't that Don't you the b. Vocabulary is controlled at first (based on frequency and
/interrogative room 222A? great? want to scie usefulness) and then expanded.
help me? nce c. Translation is once more a respected class room
of procedure.
command Read pages 1- Have a nice Shut the
teac d. Reading comprehension is the only language skill
/imperative / 10 for the test. day. windows.
hing emphasized.
that e. The teacher does not need to have good oral proficiency in
exclamation The universe I'm really It's late!
uses the target language.
/exclamatory is bounded! glad!
the
appropriate approach, method, and technique. 4. Audiolingualism – (a reaction to the Reading approach and its lack
of emphasis on oral – aural skill; this approach became dominant in the
The difference of these three concepts: United States during the 1040s, and 1050s, and 1960s; its draws from
the Reform Movement and the Direct Approach but adds features from
Approach- is a certain model or research paradigm – you can call it structural linguistics [Bloomfield, 1933] and behavioral psychology
theory of you like. This is the broadest concept among the three. If it is [Skinner, 1957]).
in cooking, you are planning to cook Ginataan Manok. a. Lesson begins with dialogues.
b. mimicry and memorization are used, based on the
Method – this is on the other hand, is a set of procedure, a system that assumption that language is habit formation.
spells out rather precisely how to teach the English language. It is c. Grammar structures are sequences and rules are taught
more specific than an approach but less specific than the technique. inductively.
Methods are typically compatible with one () or sometimes two d. Skills are sequences: listening, speaking – reading, and
approaches. If it is in cooking again, these are the steps in cooking writing are postponed.
your Ginatang Manok. e. Pronunciation is stress form the beginning.
f. Vocabulary is severely limited in initial stages.
Technique – is a classroom device or activity and thus represents the g. A great effort is made to prevent learner errors.
narrowest of the three concepts. Some techniques are widely used and h. Language is often manipulated without regard to meaning
found in many methods examples are dictation, imitation, repetition and or context.
many more; however, some techniques are specific to or i. The teacher must be proficient only in the structures,
characteristically intended for a method. One of the examples is the vocabulary, etc. that he/she is teaching since learning activities and
Cuisenaire Rod for the Silent Way Methods [Gattegno, 1976]. If it is in materials are carefully controlled.
cooking, to complete the analogy, it is the level where you are going to
choose whether you are going to cook it using firewood or stove. 5. Cognitive Approach – (a reaction to the behaviorist features of the
Audiolingual Approach; influences by cognitive psychology [Neisser,
In line with the learning pedagogy in English teaching for reading, 1967] and Chomsky linguists [Chomsky, 1959, 1965])
writing, speaking, and listening or the four (4) macro skills, we have to a. Language learning is viewed as rule acquisition, not habit
study the some of the common approaches that affect the contempory formation.
style of teaching and learning of the students. These are: b. Instruction is often individualized; learners are responsible
for their own learning.
1. Grammar – Translation Approach – (an extension of the approach c. Grammar must be taught but it can be taught deductively
used to teach classical language to the teaching of modern languages. (rules first, practice later) and/or inductively (rules can either be stated
) after practice or left as implicit information for the learners to process on
a. Instruction is given in the native language of the students. their own. )
b. There is little use of target language for communication. d. Pronunciation is de – emphasized; perfection is viewed as
c. Focus is on grammatical parsing, i.e., the form and unrealistic and unattainable.
inflection of words. e. Reading and writing are once aging important as listening
d. There is early reading of difficult texts. and speaking.
e. A typical exercise is to translate sentences from the target f. Vocabulary instruction is once again important, especially at
language into the mother tongue (or vice versa). intermediate and advanced levels.
f. The result of his approach is usually an inability on the part g. G. Errors are viewed as inevitable, to be used
of the student to use the language foe communication. constructively in the learning process.
g. The teacher does not have to be able to speak the target h. The teachers are expected to have good general
language. proficiency in the target language as well as an ability to analyze the
target language.
2. Direct Approach – (a reaction to the Grammar Translation
Approach and its failure to produce learners who could communicate in 6. Affective – Humanistic Approach – (a reaction to the general lack of
the foreign language they had been studying). affective considerations in both Audiolingualism and the Cognitive
a. No use of the mother tongue is permitted (i.e., the teacher Approach; e.g., Moskowits, 1978 and Curran, 1976).
does not need to know thw students’ native language.) a. Respect is emphasized for the individual (each student, the
b. Lesson begin with dialogues and anecdotes in modern teacher) and for his or her feelings.
conversational style. b. Communication that is meaningful to the learner is
c. Actions and pictures are used to make meanings clear. emphasized.
d. Grammar is learned inductively. c. Instruction involves much work in pairs and small group.
e. Literary texts are read for pleasure and are not analyzed d. Class atmosphere is viewed as more important than
grammatically. materials or methods.
f. The target culture is also taught inductively.
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 e. Peer support and interaction are viewed as necessary for
learning.
f. Learning of foreign language is viewed as a self –
realization experience.
g. The teacher is a counselor or facilitator.
h. The teacher should be proficient in the target language and
the student’s native language since translation may be used heavily in
the initial stages to help students feel at ease; later it is gradually
phased out.
7. Comprehension – Based Approach – (an outgrowth of research in
first language acquisition that led some language methodologists to
assume that second or foreign language learning is very similar to first
language acquisition; e.g., Postovsky, 1974; Winitz, 1981; Krasken and
Terrell, 1983)
a. Listening comprehension is very important and is viewed
as the basis skill that will allow speaking, reading, and writing to
develop spontaneously over time, given to right conditions.
b. Learners should begin by listening to meaningful speech
and by responding nonverbally in meaningful ways before they produce
any language themselves.
c. Learners should not speak until they feel ready to do so;
this results in better pronunciation than if the learner is forced to speak
immediately.
d. Learners progress by being exposed to meaningful that is
just one step beyond their level of competence.
e. Rule learning may help learners monitor (or become aware
of) what they do, but it will not aid their acquisition or spontaneous use
of the target language.
f. Error correction is seen as unnecessary and perhaps even
counterproductive; the important thing is that the learners can
understand and make themselves understood.
g. If the teacher is not a native(or near – native ) speaker,
appropriate materials such as audiotapes and videotapes must be
available to provide the appropriate input for the learners.
8. Communicative Approach – (an outgrowth of the work of
anthropological linguists[e.g., Hymes,1972] and Firthian linguists [e.g.,
Halliday, 1973], who view language first and foremost as a system for
communication.
a. It is assumed that the goal of language teaching is
learner’s ability to communicate in the target language.
b. It is assumed that the content of a language course will
include semantic notions and social functions, not just linguistic
structures.
c. Students regularly work in groups or pairs to transfer (and,
if necessary, negotiate) meaning in situation in which one person has
information that the other’s lack.
d. Students often engage in role play, dramatization to adjust
their use of target language to different social context.
e. Classroom materials and activities are often authentic to
reflect real – life situation and demands.
f. Skills are integrated from the beginning; a given activity
might involve reading, speaking, listening, and also writing (this
assumes the learners are educated and literate.
g. The teacher’s role is primarily to facilitate communication
and only secondarily to correct errors.
h. The teacher should be able to use the target language
fluently and appropriately.
To sum up, we can see that certain features of several of the first four
approaches arose in reaction to perceived inadequacies of
impracticalities in an earlier approach or approaches.
Some Example Methods
 Silent way (Gattegno, 1976)
 Communicative Language Learning (Curran, 1976)
 Total Physical Response (Asher, 1977)
 Suggestopedia/ Suggestology/ Accelerated Learning
(Lozanov, 1978)
Some Example Techniques
 Debate
 Imitation
 Repetition
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 Memorization
 Role-playing
 And others…
Multiple Intelligences
The theory of multiple intelligences was developed in 1983 by Dr.
Howard Gardner, professor of education at Harvard University. It
suggests that the traditional notion of intelligence, based on I.Q. testing,
is far too limited. Instead, Dr. Gardner proposes eight different
intelligences to account for a broader range of human potential in
children and adults. These intelligences are:
Linguistic intelligence ("word smart"):
Logical-mathematical intelligence ("number/reasoning smart")
Spatial intelligence ("picture smart")
Bodily-Kinesthetic intelligence ("body smart")
Musical intelligence ("music smart")
Interpersonal intelligence ("people smart")
Intrapersonal intelligence ("self smart")
Naturalist intelligence ("nature smart")
Dr. Gardner says that our schools and culture focus most of their
attention on linguistic and logical-mathematical intelligence. We esteem
the highly articulate or logical people of our culture. However, Dr.
Gardner says that we should also place equal attention on individuals
who show gifts in the other intelligences: the artists, architects,
musicians, naturalists, designers, dancers, therapists, entrepreneurs,
and others who enrich the world in which we live. Unfortunately, many
children who have these gifts don’t receive much reinforcement for
them in school. Many of these kids, in fact, end up being labeled
"learning disabled," "ADD (attention deficit disorder," or simply
underachievers, when their unique ways of thinking and learning aren’t
addressed by a heavily linguistic or logical-mathematical classroom.
The theory of multiple intelligences proposes a major transformation in
the way our schools are run. It suggests that teachers be trained to
present their lessons in a wide variety of ways using music, cooperative
learning, art activities, role play, multimedia, field trips, inner reflection,
and much more.
The theory of multiple intelligences also has strong implications for
adult learning and development. Many adults find themselves in jobs
that do not make optimal use of their most highly developed
intelligences (for example, the highly bodily-kinesthetic individual who is
stuck in a linguistic or logical desk-job when he or she would be much
happier in a job where they could move around, such as a recreational
leader, a forest ranger, or physical therapist). The theory of multiple
intelligences gives adults a whole new way to look at their lives,
examining potentials that they left behind in their childhood (such as a
love for art or drama) but now have the opportunity to develop through
courses, hobbies, or other programs of self-development.
How to Teach or Learn Anything 8 Different Ways
One of the most remarkable features of the theory of multiple
intelligences is how it provides eight different potential pathways to
learning. If a teacher is having difficulty reaching a student in the more
traditional linguistic or logical ways of instruction, the theory of multiple
intelligences suggests several other ways in which the material might
be presented to facilitate effective learning. Whether you are a
kindergarten teacher, a graduate school instructor, or an adult learner
seeking better ways of pursuing self-study on any subject of interest,
the same basic guidelines apply. Whatever you are teaching or
learning, see how you might connect it with
words (linguistic intelligence)
numbers or logic (logical-mathematical intelligence)
pictures (spatial intelligence)
music (musical intelligence)
self-reflection (intrapersonal intelligence)
a physical experience (bodily-kinesthetic intelligence)
a social experience (interpersonal intelligence), and/or
an experience in the natural world. (naturalist intelligence)
For example, if you’re teaching or learning about the law of supply
and demand in economics, you might read about it (linguistic), study
mathematical formulas that express it (logical-mathematical), examine a
graphic chart that illustrates the principle (spatial), observe the law in
the natural world (naturalist) or in the human world of commerce
(interpersonal); examine the law in terms of your own body [e.g. when
you supply your body with lots of food, the hunger demand goes down;
when there's very little supply, your stomach's demand for food goes
way up and you get hungry] (bodily-kinesthetic and intrapersonal);
and/or write a song (or find an existing song) that demonstrates the law
(perhaps Dylan's "Too Much of Nothing?").
GPU: A SECOND LOOK
Dina Joana S. Ocampo
Published in The RAP Journal 1988
Literature – the mirror of life – is a crucial aspect in the school-life of our
children and youth. Through poems, short stories and plays, they meet
people and go places, feel emotions both familiar and alien to their
experience and explore worlds of thought far beyond their knowledge.
In so doing, the children and youth develop friendships with authors and
a love affair with the printed world.
As vast as life itself, literature reaches the hidden depths of soul and
mind. From its structures and form, emanate responses and statements
about life which the authors profess to the world; ideas and emotions
which could baffle the average child in the classroom.
To do justice to the sensitivity and artistry to the writer, the teacher must
first know, feel and understand what the author wishes to impart. For
how can one teach something which one does not have? How can one
lead students to a better understanding of a selection when one does
not fully understand it himself? How can one develop in students a love
for reading without loving reading too?
Questions such as these nagged the late Prof. Basilisa J. Manhit, the
founder of the Department of Reading of the University of the
Philippines. A self-confessed lover of literature, she recognized the
anxiety felt by a child unable to grasp the essence and message of the
story he reads, and the frustrations over ideas which he cannot
comprehend readily due to his limited experience. Only a teacher with a
heart can empathize with a child’s anxiety. With these questions in
mind, Prof. Manhit conceptualized, implemented, evaluated and
advocated an approach to teaching literature which she called the
Gradual Psychological Unfolding, otherwise known as the GPU.
Like all approaches to teaching literature, the GPU is meant to let the
pupils enjoy the selection in content and in style. As its name suggests,
the story is unraveled through a slow yet logical manner with questions
and activities prepared by the teacher. The guide or cues from the
teacher enable the learner to gradually understand the events in the
story, perceive the author’s message, determine his perception of an
emotional phenomenon or of life and to select and assimilate values
relayed through the selection. Eventually, the pupil will be able to feel
the author’s intended emotional experience on his own with the thought
pattern he has absorbed, He, too, will enrich his own perception of and
philosophy in life vicariously though his printed page.
The GPU is a method of teaching literature that demands diligence,
creativity and alertness of the teacher. Diligence – to take pains in
formulating questions that would best lead to the understanding of a
selection and producing materials to perk up discussion. Creativity – to
make the discussion as exciting and challenging as possible through
non-traditional means. Alertness – to perceive the truths and
weaknesses of the answers given by the children and to establish a
logical question-answer-question pattern.
The following are the parts of the GPU and the description of each.
1. Assignment Giving – Oral Motivation
a. Unlocking of Difficulties
“These are facts – that 1) English is not our
native tongue and 2) the students have
hardly any opportunity to use it - should
be kept in mind. This takes us to the
second problem:
The standard how tobefore
procedure bridge theisgap
reading the elimination of
between the students and demands of the come from
probable sources of difficulty. These may
difficulties in vocabulary and idiomatic expressions. These
reading
may materials.
be eased through Bridgingcontextthe clues,
gap isconcrete and
representative
sometimes calledmaterials,
unlocking wordofgames, among others. Another
difficulties.”
source
(Manhit, 1980)of difficulty is the lack of clear idea about the historical
background or geographical setting of the story. Map reading,
brief lectures on that particular historical period or even
No part of this material may be reproduced in any form. This is for the exclusive use of St Louis Review Center.
assigning easier reading material about the history and
geography used in the slection will surely clarify vague or
unfamiliar details. It will likewise, provide an ample frame of
reference from which the story may be viewed.
A thorough unlocking of crucial terms, structures or
background for a story paves the way, for understanding the
selection. Almost one-third of the teacher’s burden is eased
since there will virtually be no vague points. The children will
also have an easier time reading the story because of their
vocabulary and historical background.
b. Motivation
“A genuine desire to read must be
generated based on their
intellectual curiosity and the
reading material.” (Manhit, 1980)
This question is both simple and difficult. It must be within the
scope of experience of the children. They should elicit as
many answers as possible from more children without any
response considered an incorrect. Lastly, the motivation must
be related to any aspect of the story – whether the event,
character, emotional experience or message. The motivation
is crucial because it aims to achieve two goals. First, it
should solicit the interest of the students and sustain it. To do
so, the question should be attractive and common to them so
that most if not all will volunteer responses. Second, the
motivation directs the thoughts or mind of the learner towards
the incident in the story yet to be read. If done successfully,
the student will have one foot on his own experience and one
foot in the story. He have will common ground with the
selection or its characters thus establishing a relationship
between the reader and the story as early as possible.
2. Assignment Giving – Written Motivation
The second aspect of the assignment giving is the written motivation.
This is what the students bring home as their guide when they read the
selection. It is assumed that the oral motivation has aroused the
interests of the pupils that they are eager to read the selection.
The written motivation is the motive question. It serves as guidelines to
enable the students to focus on vital aspects of the story. The motive
question should be parallel to the motivation. Called the motivation-
motive question tandem, these two directs the thoughts of the reader
towards the desired goal of the teacher. While the motivation solicits
answers emanating from the students’ own experiences, the motive
question can only be answered correctly only after reading the
selection. The answer is in the selection. The motivation must follow the
thought patterns established by the motivation. It should be simple
enough for the reader to answer successfully yet difficult enough to
sustain a certain level of challenge.
Here is an example of a motivation-motive question tandem:
Who is your best friend? What do
you do together?
3. Check-up Tests
Who are the best friends in the
“… The teacher has a moral obligation to
story?
provide incentive
A check-up test is made up of in
10 developing study
literal questions answerable by only
What
one or two do
words.
habit.” they do together?
It aims 1980)
(Manhit, to keep students on their toes at the
beginning of the class so their attention immediately focuses on the
lesson. Aside from this, it also serves as a perfect vehicle for building
the study habit in children. The feeling of success brought about by
favorable results in the check-up test encourages them to read their
selections, in other words, do their homework. Those who fail to
perform well, know exactly where they went wrong In effect, they will do
their assignments next time around.
The check-up test:
a. is on the literal level.
b. is brief and easy to understand.
c. requires one or two word answers.
d. is made up of questions that sample the entire selection.
e. does not require introductory statements for its
questions.
 f. does not give clues that could lead to any of the
answers.
g. is challenging and interesting to the student.
h. does not concentrate on names and places.
i. asks pertinent questions that will lead to a better
understanding of the selection.
4. The Discussion
“… the discussion unfolds in the nature of a
conversation wherein every answer to a
In this type of approach
question to thethe
triggers reading of literature,
succeeding the discussion of the
question.”
story is the most important part. This is where the students gain a better
(Manhit, 1980)
understanding of both the selection and the author. Through intelligent
questions, the students arrive at the emotional experience and
philosophical message that the author wishes to impart. The GPU has a
special design of questioning. The following are its features:
The discussion begins once again with a motivation-motive question
tandem. The first question grabs the attention of the student from the
preoccupation outside the classroom. In case of a high GPU for more
advanced readers, the second question already addresses the story.
For children with some reading difficulties, the succeeding question
may still be for motivation. The motive question then enters very
gradually to avoid an abrupt transition from the reader’s experience to
the story itself.
The questions for discussions are characterized by a logical pattern
where the answer to a question triggers the next question. A chain-like
progression of ideas brought out by the linked question-answer-
question design enables the reader to view the selection as a whole. No
fragmentation of the story occurs. The student learns that the selection
is cohesive and purposeful. To reach this generalization, the student
must go through the dimensions of reading.
Literal Understanding or
1st Dimension
The first level is the most basic. The reader should know the events as
they happened in the story and know the characters and their actions,
conversation and thoughts. He should be able to identify the conflicts
and dilemma of the characters. Literal understanding means the reader
has lost himself in the scenario and has related to the characters who
live in it.
Fundamental to progressing to the influential levels, a literal
understanding of the story provides the most basic structure through
which the writer expresses his philosophy in life.
Grasping Fully the Writer’s Ideas or
2nd Dimension
This dimension no longer depends on explicit statements from the
selection. The reader is tasked to make inferences in the story. Quality
of character may be inferred from his actions, conversations, thoughts
or description by other characters. The general situation may be
inferred from descriptions of day, time, place or culture. All these may
have been left unsaid by the author though he expects the reader to
successfully deduce generalization. Sufficient clues are given to enable
the students to arrive at the writer’s ideas. Questions on the 2 nd
dimension are still about the story though the answers are derived, not
lifted from the selection.
Critical Thinking or
3rd Dimension
The third dimension of reading is the critical level. The reader should
already be able to gain a literal understanding of the story and be able
to grasp fully the writer’s idea before going onto this level. In critical
thinking, the reader shifts his attention from the story to the writer
himself. The story is viewed only as a vehicle through which the writer
expresses his ideas creatively. Disguised behind the situations and
interactions that occur in the story, the author imparts his own
perception of the world and his reaction to it. In effect, he articulates his
philosophy of life.
It is the task of the reader to elevate his understanding of the story from
mere literal comprehensions to inferential understanding. Critical
thinking enables the reader to perceive words that are not printed and
emotions that are left unsaid. The reader must discover the purpose of
the author for writing the selection. As he unlocks the gates which
enclose the writer’s personality and ideas, the reader may find
perspective quite different from his. He must then be equipped with the
ability to discern the various points of view he will be coming across as
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he reads more material. He should be able to compare and contrast
these ideologies, philosophies, principles, theories or values against
each other or against his own values system. As he does so, he
simultaneously reads in the 3rd and 4th dimensions. The reader, thus,
chooses which ideas and values will help them achieve his personal
purposes. Critical thinking together with valuing allows the reader to
evolve his own [philosophy and establish his own priorities in life.
The next aspect of the story the students react to is the style of the
author. He must determine the effectively of the manner the message is
put forward. The reader tries to find out why the writer opted to deliver
his message in a particular way. Through critical analysis of style, the
reader not only comprehends more deeply, he also discovers the
beauty in the blending of from and substance.
Integration of the Author’s Idea with the Reader’s Own Ideas or
4th Dimension
As mentioned in 3rd dimension, integration with the author’s ideas with
the reader’s own ideas largely depends on a correct perception of the
philosophy which the writer is trying to say. Also called valuing, the 4th
dimension occurs simultaneously with all other levels of inferential
reading.
The teacher must discriminate the ideas of the author from the others
he has read and from his own. After which he must gather those he
believes will be beneficial to him and his life. It is this level where the
pupil judges the author’s values, morals or philosophy against the
highest standards he adheres to.
It is then the teacher’s duty to give to the experiences which aim to
establish a solid values foundation. Eventually however, it is also his
responsibility to expose them to varying ideas so that the choices are
not made for them. Through the proper questioning, students will be
encouraged to attach graduated values to differing philosophies. In the
long run he will, choose which of these values he will adopt or adapt. By
then, the teachers and parents should be assured that their children
have built a values system reliable and stable enough to confront
situations met in reality.
Putting all the questions together
Corollary to the chain-like pattern of questioning, the teacher is free to
jump from one dimension to another. This contributes at the
development of a holistic perception of literature in the child. The
difficult questions are interspersed with simple ones. The child does not
fear reaching the culmination of the discussion, usually loaded with
difficult questions. A considerate teacher will encourage slower pupils to
answer questions and pose the challenging ones to the more
advanced.
Discussion questions should no longer be more than 10 words. Brief
and concise understanding of the question assure greater
understanding of the query.
The discussion is an oral re-creation of the story. It must equal the
artistry of the writer. The teacher must be sure that his questions do
justice to the author’s creation. He must approximate the vividness and
sense of drama in the story. The devices he uses to complement his
discussion maximize the enjoyment as well as the comprehension and
involvement of the reader wit the text. Pictures, maps, short films,
games, role playing, group activities, character and plot profiles, and
other enlivening devices make discussion an absorbing and interesting
activity.
There are many emerging approaches to the teaching of literature that
are as effective and absorbing. Yet the GPU remains a classic method
of discussion that should have a special place in a teacher’s repertoire
of teaching techniques and strategies.
Post reading activities
Post reading activities constitute the final phase of the GLR-CT of the
Four Pronged Approach. This is where the most of the objectives of the
lesson are met, particularly the expressive objective/s. Among the most
important activities used in the post reading phase are the discussion,
engagement activities, enrichment activities, extending activities which
connect to the other aspects of the curriculum.
Rationale
As teachers, we do post reading activities so that we can develop
comprehension among our students. Through the activities, we
encourage our pupils to think about the story that has just been read to
them. We also want to give them meaningful ways that will refine,
enrich, and heighten their interest in the story. But remember, the main
goal of the post reading phase is to further develop and clarify
interpretations of the selection, and to help pupils remember what they
have learned.
Dimensions of Reading Comprehension
To be able to fashion a good discussion, a teacher must be aware of
the levels of comprehension we aim to develop among all pupils.
These are the following:
1. Level 1 – Literal Understanding
The first level of reading comprehension is the most basic.
This level of understanding is developed by asking questions
which can be answered by finding information that is written
explicitly in the text. In other words, literal understanding is
“reading the lines.” In our sample lesson plan, such
questions are “Where did the rain fall first?” and “What came
out when the rain stopped?”
2. Level 2 – Interpretation or Grasping fully the writer’s ideas
This dimension goes beyond the explicit statements in the
selection. Making inferences is the core comprehension
ability required of this level. Inferences are necessary
because these are usually left unsaid by the author though
the text may be peppered with clues and hints about the
characteristics, features, and qualities of the different
elements of the story such as plot, character, theme, setting
and conflict. Level 2 understanding enables the reader to
perceive words that are not printed and emotions that are left
unsaid. Level 2 understanding is more frequently referred to
as “reading between the lines.” You will find examples of this
level of questions in your sample lesson plan. These include
“What did the animals feel when the sun came out?” and
“What do you think did the animals feel when it rained?
Why?”
3. Level 3 – Evaluation or Critical Thinking
The critical level of reading comprehension assumes that the
reader has gained a literal understanding of the text and has
made inferences about the selection. Therefore, the reader is
able to shift his attention to the implicit message of the author
and thus question this message. Critical thinking may be
seen as an evaluation or interrogation of the text and the
author by the reader. This level of comprehension may also
be called “questioning the text and the author.” Examples of
questions found in your lesson plan include the question “Do
you think this story can really happen?”
4. Level 4 – Value Integration or Application
The fourth dimension of comprehension crosses from the
story to real life experiences of the pupils who read or listened
to the story being discussed. Understanding at this level
means the pupil is able to identify or respond to questions
which help her identify the relationship of the story to her own
experiences. For instance, in our sample plan there is a
follow-up question to “What did the animals feel when the sun
came out?” which is “Would you feel the same? Why?”
Another example in the lesson plan is the question “How does
the weather affect out activities?”
5. Level 5 – Creative Understanding
The fifth dimension of comprehension is demonstrated by the
pupil’s ability to interact with the story meanings through a
new form of rendition. For example, they can make
cardboard puppets (as in our sample lesson plan) which they
can color and which can be used for the other aspects of the
discussion (ie, sequencing the events).
The Art of Questioning
Discussion is one of the most powerful engagement activities which we
teachers use in our primary classrooms. The discussion organizes the
pupils on how to think about the story that had just been read. It is
best to devise a set of discussion questions which unfold the story
gradually so that each question or comprehension point made becomes
integrated with the child’s holistic understanding of the story.
We do not want readers who can only function at the level of literal
comprehension. We aim to develop readers who think about stories
and selections at all the levels of comprehension. This is why the
Gradual Psychological Unfolding or the GPU is one of the best
discussion techniques.
Developed by Prof. Basilisa Manhit, the GPU aims to develop thinking
and comprehension skills by asking questions. Think of the questions
in a GPU as a chain because each questions is a link that completes
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the chain. The answer to one question serves as the trigger for the
next question.
Let’s look at a series of questions in the sample plan. I have placed
typical answers given by children to these questions in italics. You will
see that each question is a logical follow up to the previous question
and the answer served as the bridge.
8. What do you think did the animals feel when it rained? Why?
-- They felt sad because they could not play.
9. Would you feel the same, if you were the animals? -- Yes, I
would be sad too because I like to play outside in the
playground.
10. How long did it rain? -- It rained all day and all night.
11. What can’t the animals do while it was raining? -- The
animals could not play in the sun. They could not eat grass.
12. If you were the animals, what would you do while it rained? --
I would read a book or watch TV.
Creating a GPU makes the discussion of the story flow like a
conversation which is anchored on the story elements and how these
can be related to life experiences or prior knowledge of the pupils. As
you frame the discussion questions, feel free to jump from one
dimension of comprehension to another. The logical sequencing of
questions makes answering the higher level questions less difficult. The
interconnectedness of the questions helps the students develop a
better understanding of the story. If you would like to read more on the
GPU, clink on this link: GPU: A Second Look. This is an article
providing more details on how to construct the GPU.
By itself, the GPU results in a seamless and quick-paced discussion in
which pupils are active participants. However, it can be made even
more effective and enjoyable through the use of engagement activities.
These are discussed in the next section.
Engagement activities
Reading is an interactive process. Therefore, the teaching of reading
must also be interactive. The discussion technique discussed
previously, the GPU, can be enlivened with story related tasks which
the pupils can collaborate on during group work. To be successful in
using Engagement activities in the GLR-CT, the teacher should work
with students as a class or in smaller groups first to model/teach them
about the task required and how it can be done as a group.
These story related tasks are called engagement activities and they aim
to prolong the pupils’ responses to the story. Through engagement
activities, the students become more immersed and involved in the
story and thus are even more motivated to discuss and think about it
longer. There are many kinds of engagement activities which teachers
can use. The trick is to select which among these are consistent with 1)
your scope and sequence of skills for the teaching period, and 2) with
the story itself!
Some engagement activities help pupils create summaries. Story
frames help students focus on the main characters, the setting, the
major events, and the conclusion in a story. Enough information is
given in the frame so pupils can have enough clues to fill in the blanks.
Here is an example:
The story takes place ________________. ___________is a character
in the story who ___________________. _______________ is another
character in the story who ________________. A problem occurs
when ______________. After that, ______________. The problem is
solved when _____________. The story ends with _________.
Other engagement activities focus more specifically on a story element
such as the plot or the story characters. For example, the plot profile
below shows how students felt in the different events in the story. On
the other hand, the Venn Diagram below asks pupils to compare and
contrast 2 story characters.
Compare and Contrast Two
Characters
Character 1 Character 2

It is good to explore the many graphic organizers and story related
tasks which can engage students with the story in the GLR-CT. These
can be done together with the whole class first, then in small groups
and also individually (perhaps for homework or evaluation).
GETTING THE MAIN IDEA
Read the following paragraphs and carefully determine what the main
idea is for each. The best way to approach these questions is to first
read the paragraph and then, in your own words, restate what you think
the author is trying to say. From the five choices, select the one
statement that best supports the author’s point.
1. If you’re a fitness walker, there is no need for a commute to a health
club. Your neighborhood can be your health club. You don’t need a lot
of fancy equipment to get a good workout either. All you need is a well-
designed pair of athletic shoes.
This paragraph best supports the statement that
a. fitness walking is a better form of exercise than weight lifting.
b. a membership in a health club is a poor investment.
c. walking outdoors provides a better workout than walking indoors.
d. fitness walking is a convenient and valuable form of exercise.
e. poorly designed athletic shoes can cause major foot injuries.
2. One New York publisher has estimated that 50,000 to 60,000 people
in the United States want an anthology that includes the complete
works of William Shakespeare. And what accounts for this renewed
interest in Shakespeare? As scholars point out, the psychological
insights he portrays in both male and female characters are amazing
even today.
This paragraph best supports the statement that
a. Shakespeare’s characters are more interesting than fictional
characters today.
b. people today are interested in Shakespeare’s work because of the
characters.
c. academic scholars are putting together an anthology of
Shakespeare’s work.
d. New Yorkers have a renewed interested in the work of
Shakespeare.
e. Shakespeare was a psychiatrist as well as a playwright.
3. Critical reading is a demanding process. To read critically, you must
slow down your reading and, with pencil in hand, perform specific
operations on the text. Mark up the text with your reactions,
conclusions, and questions. When you read, become an active
participant.
This paragraph best supports the statement that
a. critical reading is a slow, dull, but essential process.
b. the best critical reading happens at critical times in a person’s life.
c. readers should get in the habit of questioning the truth of what they
read.
d. critical reading requires thoughtful and careful attention.
e. critical reading should take place at the same time each day.
4. Human technology developed from the first stone tools about two
and a half million years ago. In the beginning, the rate of development
was slow. Hundreds of thousands of years passed without much
change. Today, new technologies are reported daily on television and in
newspapers.
This paragraph best supports the statement that
a. stone tools were not really technology.
b. stone tools were in use for two and a half million years.
c. there is no way to know when stone tools first came into use.
d. In today’s world, new technologies are constantly being developed.
e. none of the latest technologies are as significant as the development
of stone tools.
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5. Today’s postal service is more efficient than ever. Mail that once took
months to move by horse and foot now moves around the country in
days or hours by truck, train, and plane. If your letter or package is
urgent, the U.S. Postal Service offers Priority Mail and Express Mail
services. Priority Mail is guaranteed to go anywhere in the United
States in two days or less. Express Mail will get
your package there overnight.
This paragraph best supports the statement that
a. more people use the post office for urgent deliveries than any other
delivery service.
b. Express Mail is a good way to send urgent mail.
c. Priority Mail usually takes two days or less.
d. mail service today is more effective and dependable.
e. mail was once delivered by horse and foot.
6. Reality TV shows will have an adverse effect on traditional dramas
and comedies. As Reality TV increases in popularity, network
executives will begin canceling more traditional programs and replacing
them with the latest in Reality TV.
This paragraph best supports the statement that
a. Reality TV is low quality.
b. Reality TV shows get the highest ratings.
c. more and more people love to watch and participate in Reality TV.
d. as Reality TV gets more popular, more traditional television shows
may be threatened.
e. network executives make hasty and unwise decisions.
7. When writing business letters or memos, it’s not practical to be
personal. Though the first-person point of view may make the reader
feel close to the writer, it also implies a certain subjectivity. That is, the
writer is expressing a personal view from a personal perspective.
This paragraph best supports the statement that
a. writing a first-person business correspondence will prevent the writer
from getting promoted.
b. effective business writing is one of the most important skills to have
in an office environment.
c. using the first-person point of view in business correspondence is not
a wise choice.
d. the first-person point of view expresses a personal view and a
personal perspective.
e. the first-person point of view is appropriate when writing a letter of
thanks
ANSWERS
1. d. The author stresses the convenience of fitness walking, by stating
that it does not require a commute to a health club. The paragraph also
implies that fitness walking will result in a good workout. Choice a is
incorrect because no comparison to weight lifting is made. Choice b
may seem like a logical answer, but the paragraph only refers to people
who are fitness walkers, so
for others, a health club might be a good
investment. Choice c is not in the passage.
Although choice e seems logical, the paragraph does not indicate that
the wrong shoes will produce major injuries.
2. b. The last sentence in the paragraph clearly supports the idea that
the renewed interest in Shakespeare is due to the development of his
characters. Choice a is incorrect because the writer never makes this
type of comparison. Choice c is wrong, because even though scholars
are mentioned in the paragraph, there is no indication that the scholars
are compiling the anthology. Choice d is wrong because there is no
support to show that most New Yorkers are interested in this work.
There is no support for choice e either.
3. d. This answer is implied by the whole paragraph. The author
stresses the need to read critically by performing operations on the text
in a slow and specific manner. Choice a is incorrect because the author
never says that reading is dull. Choices b, c, and e are not supported
by the paragraph.
4. d. The last sentence states that new technologies are reported daily,
and this implies that new technologies are being
constantly developed. There is no support for choice a. With regard to
choice b, stone tools were first used two and a half million years ago,
but they were not necessarily in use all that time. Choice c is clearly
wrong because the paragraph states when stone tools first came into
use. Although some may agree that choice e is true, the author of the
paragraph does not give support for this opinion.
5. d. Choices a and c are not supported by the paragraph. Choices b
and e only tell us about particular parts of the paragraph and are too
specific to be the main idea. Choice d, however, is general enough to
encompass all the sentences and the paragraph as a whole. Every
sentence supports the idea asserted in choice d.
6. d. Both sentences in the paragraph support this choice. Choices a
and e are opinions and are not in the paragraph. Choices b and c may
be true, but they are also not supported by the paragraph.
7. c. The first sentence points out that it is not practical to use the first-
person point of view in business correspondence. Choices a, b, and e
are not in the paragraph. Choice d is in the paragraph and although it
does tell us something about the first-person point of view, it is too
narrow to represent the main idea, which has to do with the first-person
point of view as it is related to writing in a business environment.
Survey! Question! Read! Recite! Review!
SQ3R will help you build a framework to understand your reading
assignment.
Before you  the title, headings, and subheadings
read,  captions under pictures, charts, graphs or
Survey maps
the  review questions or teacher-made study
chapter: guides
 introductory and concluding paragraphs
 summary
Question  Turn the title, headings, and/or subheadings
while you into questions
are
 Read questions at the end of the chapters or
surveying:
after each subheading
 Ask yourself, "What did my instructor say
about this chapter or subject when it was
assigned?"
 Ask yourself, "What do I already know about
this subject?"
Note: If it is helpful to you, write out these questions for
consideration. This variation is called SQW3R
When you  Look for answers to the questions you first
begin to raised
Read:  Answer questions at the beginning or end of
chapters or study guides
 Reread captions under pictures, graphs, etc.
 Note all the underlined, italicized, bold printed
words or phrases
 Study graphic aids
 Reduce your speed for difficult passages
 Stop and reread parts which are not clear
 Read only a section at a time and recite after
each section
Recite  Orally ask yourself questions about what you
after have just read, or summarize, in your own
you've words, what you read
read a  Take notes from the text but write the
section: information in your own words
 Underline or highlight important points you've
just read
 Use the method of recitation which best suits
your particular learning style but remember,
the more senses you use the more likely you
are to remember what you read - i.e.,
TRIPLE STRENGTH LEARNING:
Seeing, saying, hearing-
QUADRUPLE STRENGTH LEARNING:
Seeing , saying , hearing, writing!!!
Review: Day One
an  After you have read and recited the entire
ongoing chapter,
process. write questions in the margins for those points
you have highlighted or underlined.
 If you took notes while reciting,
No part of this material may be reproduced in any form. This is for the exclusive use of St Louis Review Center.
write questions for the notes you have taken
in the left hand margins of your notebook.
 Complete the form for a critical reading
review
Day Two
 Page through the text and/or your notebook
to re-acquaint yourself with the important
points.
 Cover the right hand column of your text/note-
book and orally ask yourself the questions in
the left hand margins.
 Orally recite or write the answers from
memory.
 Make flash cards for those questions which
give you difficulty.
 Develop mnemonic devices for material which
need to be memorized.
Days Three, Four and Five
 Alternate between your flash cards and notes
and test yourself (orally or in writing) on the
questions you formulated.
 Make additional flash cards if necessary.
Weekend
Using the text and notebook, make a Table of Contents
- list all the topics and sub-topics you need to know
from the chapter.
From the Table of Contents, make a Study Sheet/
Spatial Map.
Recite the information orally and in your own words as
you put the Study Sheet/Map together.
Now that you have consolidated all the information you
need for that chapter, periodically review the Sheet/Map
so that at test time you will not have to cram.
SQ3R: A Reading Technique
How to Hit the Books
SQ3R stands for Survey, Question, Read, Recite, Review. It is a proven
technique to sharpen textbook reading skills. In college, you'll frequently
be assigned multiple chapters for several different courses in books that
can be quite complicated. SQ3R helps make reading purposeful and
meaningful, so that you use your time most effectively. Here's how this
strategy works.
Survey
Get an idea of what the chapter is about by reviewing the highlights:
 Read the title, headings, and subheadings.
 Take note of words that are italicized or bold.
 Look at charts, graphs, pictures, maps, and other visual
material.
 Read captions.
 Read the very beginning and end of the chapter.
Question
As you survey the text, ask a question for each section. Ask what, why,
how, when, who and where questions as they relate to the content.
Here's how you can create questions:
 Turn the title, headings, or subheadings into questions.
 Rewrite the questions at the end of the chapter or after each
subheading in your own words.
Write down your questions. Questions help you pay attention,
understand the text better, and recall the information more easily later
on.
Read
Read one section of a chapter at a time, actively looking for an answer
to your question for that section. Pay attention to bold and italicized text
that authors use to make important points. Be sure to review everything
in the section, including tables, graphs, and illustrations, as these
features can communicate an idea more powerfully than written text.
Recite
At the end of each section, look up from the text and in your own words
recite an answer to your question for that section. Then write down your
answer. Be sure to provide examples that support it.
Now repeat the Question, Read, and Recite steps for each section of
the chapter or assigned reading. First ask a question for the next
section. Then read to find the answer. Finally, recite the answer in your what the author is trying to say.
own words and jot it down. The written questions and answers will help - Without looking at the book, check whether you have learned the
you study in the future. major
Review concepts by trying to restate them in your own words. If you cannot do
After completing each chapter or reading assignment, review your this
notes. Identify the main points of the reading by looking for the most immediately after reading the material, you cannot hope to do it
important idea in each section. Recite, or write, a brief summary of the tomorrow in class
chapter or assignment. or next week on an exam. Such self-recitation provides a way to test
Review your study notes every week to help you remember the yourself
information. When it's time to study for your tests, you'll find you've quickly and easily to reveal what you have learned. If you can’t repeat
created an invaluable guide. most of
the main points, then you haven’t learned the material and you will
HE SQ3R READING METHOD SYSTEM simply have to
The method of reading called SQ3R Reading System has helped many reread it again if you are to master what you are studying.
students • STEP #5 “R” for REVIEW
improve their reading comprehension since it was first developed by Finally, REVIEW the chapter at periodic intervals to refresh your
Professor Francis memory and
Robinson in 1941. It suggests that the reader apply five steps to be an make the facts stick. Don’t wait until you are confronted with an
effective reader. examination to
• STEP #1 “S” for SURVEY do your reviewing. That’s a good time for the final review, but not the
First, SURVEY the reading assignment quickly, taking no more than first
five minutes review.
to glance over a whole chapter. - Reviewing is simply the process of going over the material again in
- Check the headings sub-headings; they represent the author’s outline order to fix
and make it in your memory.
it easy for you to follow his organization of ideas. - Reread you marginal notes and underlining and say over again the
- Inspect all graphs, maps, tables, diagrams and pictures; they are sequence of
included main ideas and supporting facts until you have them once more firmly in
because they clearly summarize, in a more visible and tangible way, mind.
many facts Research has clearly demonstrated that the best time to review material
and relationships that would otherwise require hundreds of words. is shortly
- Read the introductory and summary paragraphs; they point out the after you have learned it. It is most important, therefore, that you not
important omit this
points to look for as you read and how these concepts are related to review immediately after learning. You will, of course, want to review
each other. the
Making such a preview will orient you to what the chapter is all about material again just before the test.
before you STEPS T0 CRITICAL READING
study it in detail. A critical reader constantly asks one big question as he reads:
• STEP #2 “Q” for QUESTION AM I REALLY THINKING ABOUT WHAT I’M READING?
Second, arouse your curiosity about the material by asking yourself the Break that question apart into many other questions:
following Consider the Source -
QUESTION: “What are the main points that the author is trying to tell • What kind of publication is this?
me?” • What is the author’s background in this subject?
- As you read, convert headings and subheadings into who, what, • To whom is the author writing?
where, when, Recognize what is Said –
why and how questions, and read to find the answers to these • Has the author really said what I think he said?
questions. Recognize Assumptions & Implications -
Challenging yourself to find answers to such questions will help you to • Does the author make inconsistent statements?
maintain • What has the author assumed to be true? Which of these assumptions
interest in what you are reading and will aid you in evaluating the are
significance of stated? Unstated?
what you are reading. • Does a particular statement depend on context for its intended
• STEP #3 “R” for READ meaning?
Third, READ the assignment carefully for meaning. • What does the author imply? Insinuate?
When you read, do not read passively as you would an adventure story. Recognize Intent, Attitude, Tone, Bias -
Novels • Why is the author writing this? Motive? Purpose?
are for entertainment and are written without any concern for whether or • What is the author’s attitude? Tone? Bias?
not you • Does the author mean what he says – or is he making his point in a
remember details. roundabout way through humor, satire, irony, or sarcasm?
- Read actively! Underline key words and phrases to aid you in recalling • Are the author’s words to be taken exactly as they appear, or are they
the main slang,
points of the chapter. idioms, or figures of speech?
- Use an asterisk, exclamation point or question mark to indicate an • Which of the author’s statements are facts? Opinions?
important Analyze Arguments –
definition, a key formula, or a potential test question. • Does the author write emotionally? – Using sentiment? Horror?
- Summarize key ideas in your own words in the page margin of the Namecalling?
book. Flag waving?
Remember, such active participation in the reading process will • Which of the author’s statements are supported? Which are left
increase your unsupported?
understanding of the material being read. • What conclusions does the author reach?
• STEP #4 “R” for RECITE • Of the author’s conclusions, which are justified? Which are not
Fourth, stop at appropriate intervals and RECITE to yourself from justified?
memory the A Critical Reader:
main points of the assignment, recalling only the essential details to 1. Does not believe everything he/she reads.
understand 2. Questions everything that doesn’t make sense to him/her.
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3. Questions some things even though they do make sense. journalism:
4. Rereads when he/she thinks something may have been missed. Who What When Where Why and How (5 W's and an H)
5. Considers the type of material being read before deciding how much Who are the main characters?
weight to What does the author say happened?
give it. Where did the action occur?
6. Admits that the effect on him/her of what the author says may be When did it happen or what is the span of time?
caused more Why did this happen?
by the author’s style of How did it happen?
writing than by the facts presented. I keep six honest serving-men
7. Analyzes arguments. (They taught me all I knew);
8. Discounts arguments based on faulty reading. Their names are What and Why and When
9. Has good reasons for believing some things and disbelieving others And How and Where and Who.
– for I send them over land and sea,
agreeing with some authors I send them east and west;
and disagreeing with others. But after they have worked for me,
Adapted from Critical Reading Improvement, Anita Harnadek (McGraw- I give them all a rest.
Hill, 1978) Skimming and Scanning
Skimming refers to the process of reading only main ideas within a
KWL is intended to be an exercise for a study group or class passage to get an overall impression of the content of a reading
that can guide you in reading and understanding a text. selection.
You can adapt it to working alone, but discussions definitely help. How to Skim:
It is composed of only three stages that reflect a worksheet of three * Read the title.
columns with the three letters * Read the introduction or the first paragraph.
* Read the first sentence of every other paragraph.
What what we and * Read any headings and sub-headings.
we Want to what we * Notice any pictures, charts, or graphs.
Know know Learned * Notice any italicized or boldface words or phrases.
* Read the summary or last paragraph.
This first stage may surprise you: Scanning is a reading technique to be used when you want to find
Think first about, then list, what you know about the topic. specific information quickly. In scanning you have a question in your
This advanced organizer provides you with a background to the new
mind and you read a passage only to find the answer, ignoring
material, building a scaffold to support it. unrelated information.
Think of it as a pre-reading inventory. How to Scan:
 Brainstorm! * State the specific information you are looking for.
Before looking at the text, think of keywords, terms, or * Try to anticipate how the answer will appear and what clues
phrases about the topic, either in your class or a study group. you might use to help you locate the answer. For example, if
 Record these in the K column of your chart until you cannot you were looking for a certain date, you would quickly read
think of more. the paragraph looking only for numbers.
 Engage your group in a discussion about what you wrote in * Use headings and any other aids that will help you identify
the K column. which sections might contain the information you are looking
 Organize the entries into general categories. for.
W stands for Will or Want * Selectively read and skip through sections of the passage.
The second stage is to list a series of questions of what you want to
know more of the subject, based upon what you listed in K.
 Preview the text’s table of contents, headings, pictures, charts
etc.
Discuss what you want to learn
 List some thoughts on what you want, or expect to learn,
generally or specifically.
Think in terms of what you will learn, or what do you want to
learn about this.
 Turn all sentences into questions before writing them down.
They will help you focus your attention during reading.
 List the questions by importance.
L stands for Learned
The final stage is to answer your questions,
as well as to list what new information you have learned.
Either while reading or after you have finished.
 List out what you learn as you read,
either by section, or after the whole work, whichever is
comfortable for you.
 Check it against the W column, what you wanted to learn
 Create symbols to indicate main ideas, surprising ideas,
questionable ideas, and those you don’t understand!
Expand this exercise beyond K W L:
Add an H!
Stands for HOW you can learn more.
 Pose new questions about the topic
 How can I learn more or answer questions not answered in
my worksheet
These include other sources of information, including:
organizations, experts, tutors, websites, librarians, etc.
What’s missing?
Another strategy is to answer the questions that form the basis of good

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