After all, one reason we center seminar on books is so that we may all be on the same page. Writing is external memory; we call on it to remind us now and then of baggage we do not care to keep always with us. Second, before and as I write, I talk to myself, because speech is the concretion of thought; it collects its misty pressure into concise sentences and utters them in sensory shape.
The goal is to know the text accurately, to be acquainted with scholarly opinions about it, to work out its arguments in detail, all the while setting aside questions of truth-telling and personal illumination.
But we sing with rather than to each other, and we do it mostly not in turn but simultaneously. This happens to us all and is easily fixed. And finally, in Chorus, we are the singing college.
Talking writing and thinking about books, we get together, come out of studious privacy, to talk with each other. Whether it is the antecedent of adult twaddle or carries mental meaning no one knows. This preparatory reading we do is a curious business, then.
Some among us are so eager to capture attention that they utter words before they have collected a thought. Without music our program would be radically incomplete; we would be neglecting the affective root of our nature, our sensibility, and our passions.
Or does my acquired language in fact produce the mental state that feels like thinking, and by its very grammar give me the sense that there are mental objects? I am about to leap into that two and a half millennia-long footnote for help in thinking more precisely about our kind of talking.
The civility of the seminar, expressed in our addressing one another by last names together with the honorific Ms. Perhaps words show more of the stretching, reaching-toward motion, while thoughts are more like embracing, enclosing structures.
These questions, at least, are now ours. First, in my own personal history I learned to speak way back, effortlessly, but to write later, with difficulty. But my main point here was to establish one sure thing about talking—that it has the capacity of aboutness, which turns out to make a piece of life like the seminar possible to begin with.
Fountas and Pinnell have developed detailed teaching guides for Teaching for Comprehending and Fluency. Our faculty recently had a long discussion about the question: When I think, it is often about a material object in a worldly environment.
Listen not to me but to my intention. How does writing come about? We all share in the remarkable inclination to find satisfaction in surrendering our minds to enticing terms of thought without reaching for the intended thought itself. It means listening past personalities to the thought-gist of our speaking.
It enjoins us to try to hear what our fellow speakers intend us to hear, even if we have to hear past the words they are actually, and perhaps ineptly, saying. In talking we face toward each other and speak to each other, turn and turnabout, vice versa—that is the very meaning of con-versa-tion.
Then ask yourself, Can I unwrap my thinking from the thought?Get this from a library! Talking, writing & thinking about books: ready-to-use activities that build reading comprehension.
[Jo Phenix]. Book description for Talking, Writing and Thinking About Books by Jo Phenix. Thinking, Talking, and Writing About Reading, K Teaching for Comprehending and Fluency, K–8 is the next new breakthrough from Irene Fountas and Gay Su Pinnell.
The Role of Talk, Writing, and Benchmark Books in.
Teaching for Comprehending and Fluency: Thinking, Talking, and Writing About Reading, K/5. The Paperback of the Talking, Writing, and Thinking About Books: Ready-to-Use Classroom Activities That Build Reading Comprehension by Jo Phenix at.
Specialists - Summer Reading ; Clearance: Just Reduced! Summer Game Nights Get Ready for School! Membership Gift Cards Stores & Events Help. Teaching for Comprehending and Fluency: Thinking, Talking, and Writing About Reading, K-8 1st Edition by Irene Fountas (Author),/5(25).Download