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Get­ting into it

In­fo­box

Diese Seite ist Teil einer Ma­te­ria­li­en­samm­lung zum Bil­dungs­plan 2004: Grund­la­gen der Kom­pe­tenz­ori­en­tie­rung. Bitte be­ach­ten Sie, dass der Bil­dungs­plan fort­ge­schrie­ben wurde.

IV. Get­ting into it – Leh­rer und Schü­ler ar­bei­ten mit dem Text

Spre­chen - Lern- und Ar­beits­tech­ni­ken - Lesen und Hören je­weils in­te­gra­tiv

1. In­te­gra­ti­on von Vor­ar­bei­ten, Pla­nung der Text­ar­beit

  • Wie kann ich mit den Schü­lern auf dem Hin­ter­grund ihrer Vor­ar­bei­ten den Text er­ar­bei­ten und ihnen dabei so­viel in­di­vi­du­el­len Frei­raum wie mög­lich ein­räu­men?

Ple­num: Me­ta­plan:Über­blick über be­reits er­ar­bei­te­te Er­geb­nis­se und Vor­schlä­ge zum wei­te­ren Vor­ge­hen. Mo­dera­ti­on: 2 Schü­ler

Mo­dera­ti­on L: Er­stel­lung eines Work plan

  • An­satz: Think of the dif­fe­rent cha­rac­ters Ali, Par­vez, Bet­ti­na. Now re­mem­ber the plot, i.e. chro­no­lo­gi­cal order of the events, of the short story. Mark pas­sa­ges of the text that are im­portant for ana­ly­sis – THINK! PAIR! SHARE!
  • Name im­portant pas­sa­ges for your topic. Give one or two im­portant quo­tes for each of them.
  • How does cha­rac­ter/per­son be­ha­ve, what does it tell us about topic xy?

 

KO­OPE­RA­TI­VES LER­NEN

Ple­num: Prä­sen­ta­ti­on von Er­geb­nis­sen, Er­ar­bei­tung eines work plan

  1. Durch­füh­rung der Text­ar­beit nach Schü­ler­vor­schlag: Hanif Kurei­shi. My Son the Fa­na­tic.
  1. ONE QUOTE FOR ONE STU­DENT: Re­mem­be­ring the plot lines.
    • Ex­plain/in­ter­pret quo­tes from the story.
    • Find hea­dings and order them chro­no­lo­gi­cal­ly.
  2. Ana­ly­sing the first part of the story
    • STUM­MER IM­PULS: “Soon the room was prac­tical­ly bare.”

Give more quo­tes from pages 195 – 196 In what way does Ali chan­ge? RAN­KING of fin­dings ac­cor­ding to prio­ri­ty.

  1. Who is Par­vez?
  • You are sup­po­sed to make a role card for a pos­si­ble actor.
  • MIND­MAP/CLUS­TER (TA): as­pects to be con­side­red: outer ap­pearan­ce – his ori­gin – his fa­mi­ly – his job – ac­quain­tan­ce/fri­ends – fee­lings/hopes/pro­blems – at­ti­tu­des towards re­li­gi­on, GB
  • Part­ner­ar­beit (PA): ma­king a ROLE CARD
  • Si­tua­ti­on for the pre­sen­ta­ti­on: Par­vez talks to a pas­sen­ger in his taxi; the pas­sen­ger asks him ques­ti­ons be­cau­se he has rea­li­zed that the dri­ver is de­pres­sed. HOT CHAIR
  • Sum­ma­ry: Do you feel sorry for Par­vez?  Yes or no?   GOOD ANGEL/BAD ANGEL
  1. When and how does Par­vez con­front his son?
  • Scan the pas­sa­ge on pages 200, l. 31 – 204, l.7 What does Ali ac­cu­se his fa­ther of? Find at least 10 points. Find coun­ter-ar­gu­ments which Par­vez gives and in­vent some your­sel­ves.
  • AME­RI­CAN DE­BA­TE
  1. the out­co­me – the fight:
  • the en­ding of the story: LEND ME YOUR EYES (PA: 1 S liest still Text auf Folie, fasst münd­lich für Part­ner, der die­sen Text nicht sieht, da er auf die Rück­wand des Klas­sen­zim­mers schaut, Text­pas­sa­ge zu­sam­men).
  • Tell your part­ner what the pas­sa­ge is about. Also refer to de­tails.
  1. re­a­sons for Par­vez’ be­ha­viour
  • THINK! PAIR! SHARE!
    Give re­a­sons why Par­vez beats his son up. Only refer to the text you have read. Write down your fin­dings. Com­pa­re with your part­ner. Go to­ge­ther with ano­ther coup­le and come to a de­ci­si­on: re­fer­ring to the text wi­thout Bet­ti­na we think that Ali beats his son up be­cau­se /scene with Bet­ti­na ....
  • RAN­KING zu Ant­wor­ten ( TA) best ex­pla­na­ti­on.
  1. The last sen­tence of the story
  • Com­ple­te the fol­lo­wing de­fi­ni­ti­on: a fa­na­tic is some one who....
  • BLITZ­LICHT : Who is the fa­na­tic?

 

 

Un­ter­richts­ein­heit im De­tail: Her­un­ter­la­den [doc] [82 KB]