When parallels cross: Analytical Reading and Creative Writing skills go in line?

1. When parallels cross: Analytical Reading and Creative Writing skills go in line? Ms Victoria Goncharova, PhD in Pedagogy Moscow City Pedagogical University

2. “Show me, and I will see; Tell me, and I will remember; Make me do, and I will understand.” (Конфуций)

3. We can be good readers if we’ve tried our hand in writing. We can think of penning a text if we understand what we need as readers. Simple hypothesis:

4. Readers and Writers: on opposite sides of the fence? • Teaching AR: parallel or perpendicular to CW? • CW as a toolkit for AR: potential activities • AR as a toolkit for CW: potential activities • Parallels cross and go in circle: conclusion Plan:

5. surface level (words=text) text interpretation (plot structure, main characters, style) bottom level (idea= philosophy) READER WRITER 1. Readers and Writers: on opposite sides of the fence?

6. Reader ONE PROCESS OF COMMUNICATION Writer 1. Readers and Writers: on opposite sides of the fence?

7. 2. Teaching AR (ART): parallel or perpendicular to CW?2.1 Objectives of ART within FLT

8. Federal State Curriculum (secondary complete education) requires learners to achieve • PERSONAL goals as ability and willingness to head self-development and personal self-identification, as ability to be aware of one’s own national identity in a multicultural world, the outlook based on cultural dialogue principles, tolerance in behaviour, as ability to dialogue to bridge the gaps of (intercultural and personal) misunderstanding, as ability to manifest a partnership approach, as awareness of universal cultural values, etc. Teaching a foreign language: goal setting memo

9. META-SUBJECT goals as ability to manifest SELF-realization, SELF-cognition, SELF-planning, SELF-discipline, SELF-educating strategies applied to further education and particularly to critical (reflective) thinking • SUBJECT goals as particular abilities and knowledge in a subject sphere. Teaching a foreign language: goal setting memo

10. communicative goals: to develop learners’ intensive reading skills in line with speaking skills; to develop a toolkit for improving lexical and grammar skills; • specific cognitive (literary) goals – to form ability to understand and utilize the code and principles of literary analysis (decoding of information); 2. Teaching AR (ART): parallel or perpendicular to CW?2.1 Objectives of ART within FLT

11. meta-cognitive perspective goals: to develop analytical skills, critical and contextual thinking, get able to generalize, reflect, structure, categorize, imagine, associate, thus making one’s mind agile enough to be creative; 2. Teaching AR (ART): parallel or perpendicular to CW?2.1 Objectives of ART within FLT

12. personal development goals: to expand one’s personal worldview horizon (including social culture in the (inter)national perspective); one’s personal system of moral values and aesthetic (ethic) norms. 2. Teaching AR (ART): parallel or perpendicular to CW?2.1 Objectives of ART within FLT

13. (ANALYTICAL) READING • to improve FL and speech potential • to get aware of how a text is built and what effect it may bring • to develop critical and creative skills • to contribute to one’s understanding of the world (CREATIVE) WRITING intersection point? 2.1 Objectives of ART within FLT

14. 2.2 Interaction between AR and CW teaching strategies

15. To swim or not? And how? CW: to encourage the learners to form their writer’s intention, to structure their story, to map the plot ORIENTATION BASIS AR: to raise awareness of the structure and logics of analysis, of its constituent parts and their meaning Nota bene: MISSIONS of the stages

16. Swimming on the surface… how nice! ANALYTICAL STAGE: Story Contents Interpretation CW: to ensure careful planning of the story, making the list of the key words AR:to ensure comprehension of the contents side of the text, get able to differentiate between the main facts and details so as to understand the Plot and relate verbally the pivotal facts of the story Nota bene: MISSIONS of the stages

17. ANALYTICAL STAGE: Semantic (+Stylistic) Interpretation Let’s DIVE!! CW: to reproduce the intended story orally, undertaking checking and self-correction work AR:to arrive at understanding and personal interpretation of the general philosophy of the story (main idea) through analyzing all the implications set by all the structural parts of the analysis Nota bene: MISSIONS of the stages

18. Up to the surface… I’ve seen the bottom of the sea! CW: to complete the final version of the story in the written form, with the style shaped SYNTHETICAL STAGE AR: to encourage comprising and generalization of all the analytical implications made in a personalized integrity in the written form Nota bene: MISSIONS of the stages

19. 1. Orientation basis: • “Reader-Writer” • “Complete the Story” (team-work: brainstorm the piece – draft the story - debating) • “Unravel the title” (team-work: brainstorm the title – exchange Vocabulary maps) 3. CW as a toolkit for AR: potential activities (MEDIATED AREA)

20. 2. Analytical Stage: 2.1 Story Contents Interpretation • Scenario Reconstruction Exercise (team-work: brainstorm a ready-made plan of the same story – draft the story – debate the plans) 3. CW as a toolkit for AR: potential activities (MEDIATED AREA)

21. Scenario Reconstruction Exercise Plan 1. Traditional Problems. Light at the end of the tunnel. Uh, what a luck! Not in time! Search for happiness. Who could have doubted! Plan 2. Pots and kettles. Dresses to make. Meeting. The clock. Meeting 2. everybody’s happy. Plan 3. she does all the work. She goes to dance. She falls in love. She has lost it. They try to find her. They found her. 3. CW as a toolkit for AR: potential activities (MEDIATED AREA)

22. 2. Analytical Stage: 2.2 Semantic and Stylistic Interpretation • “Re-write the Climax” (choose the Plot Structure component to re-write – present – explain how the change effects the Plot) 3. CW as a toolkit for AR: potential activities (MEDIATED AREA)

23. 2. Analytical Stage: 2.2 Semantic and Stylistic Interpretation • “Imagine the Imagery” (write a piece of text in a certain genre following the given theme (“Alone in the jungles”), stuffing it with SD; OR re-write a piece of the story using the author’s SD but in different genre context so as to change the type and effect of the SD) 3. CW as a toolkit for AR: potential activities (MEDIATED AREA)

24. “The effulgent morning was radiant with newly-born smiles. It seemed as if whole nature were awakening in one gleeful sunrise, its inexpressible language charming the heart. The crystal dew-drops were sparkling, scattered around, and it felt like you inhaled the aroma of life… evergreen and neverending…” (LYRICAL) “Imagine the Imagery”

25. “The effulgent morning was radiant with traffic jams and surely newly-born smiles. It seemed as if the whole city were out to celebrate the sun, hand in hand, cheek to cheek, nose to nose, all awakening in one gleeful crowd, its inexpressible language charming the heart. The tear-drops of tenderness were sparkling like the crystal dew-drops, scattered around, and it felt like you inhaled the aroma of life… neverending…alas…” (IRONICAL) “Imagine the Imagery”

26. 1. Orientation basis: Story Mapping Procedure: 1) suggest alternative interpretation of the story (focus on another problem) and draw it; 2) The drawings are distributed among the groups to be interpreted; everybody chooses the idea one likes the best; 3) Individually (or in groups) draft the plot for their story (in a triangle shape). 3. AR as a toolkit for CW: potential activities

27. 2. Analytical stage: Story Making Procedure: draft a detailed plan for their story using the key words; decide on the title. 3. AR as a toolkit for CW: potential activities

28. 2. Analytical stage: Story Telling Procedure: 1) tell their stories using the plans, before they start they may ask some analytical question to their story; those who listen fix some images, impressions they get while listening (verbally or in pictures); 2) Listeners (readers) and speakers (writers) debate the impressions from the stories and what motivated them to see if the writer’s effect is not lost upon the reader. 3. AR as a toolkit for CW: potential activities

29. 3. Synthetical stage: Story Writing Procedure: the product stories are completed in the written form and finalized. 3. AR as a toolkit for CW: potential activities

30. 4. Framed Structure: Analytical Reading Procedure: 1) the written stories are distributed at random to be analyzed; 2) the reader’s interpretation of the main idea is compared to the original picture of the idea the authors have; the authors grade and assess the analysis; 3) choose the best story to dramatize; 4) The stories may be collected and even published. 3. AR as a toolkit for CW: potential activities

31. AR CRITICAL THINKER CW 4. Parallels cross and go in circle: conclusion

32. THANK YOU FOR ATTENTION!