How+To+Teach+Point+of+View

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Game to teach author’s Purpose


 * Understanding the Author's Point of View ** Understanding the author's point of view helps you comprehend what you are reading. There are questions that you can ask yourself to figure out why the author wrote the text. While reading a piece you should be asking yourself, "Why did the author write this, or what was the reason this piece was written?"Authors have reasons why they write a piece. Many authors write to inform or teach someone about something. Sometimes authors write for others to enjoy his or her piece . Often authors' purpose of writing is to persuade their audience to do or not do something

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[|Author's Purpose Video 2]

[|U TUBE Teaching Video on POV]

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[|Video 3 to Teach Author's Purpose]

=Primary Lesson Idea=

Funny you should mention that. I will be starting just such a mini-unit tomorrow with my fifth-graders. I've used it several times in the past and the kids always seem to have fun with it. While I don't read a book about turkeys and Thanksgiving, I do get the class thinking about different points of view by first reading "The Three Little Pigs" and then the wolf's side of the story (kind of like a fractured fairy tale thing). We get started by brainstorming why the two sides differ in the telling, then the students write a short essay explaining whose version is likely to be more valid based on the "evidence" from the two stories. After they have done that part then we discuss Thanksgiving dinner from the perspective of both the hungry participant and the turkey. Using a graphic organizer, they list reasons supporting both sides of the issue and then they write a persuasive argument from the turkey's point of view as to why turkey should not be on the menu. As I said, the students usually have a good time with this and some of the results have been hysterical.
 * ===turkey's point of view By mlg === || [[image:http://sw1literacy.wikispaces.com/site/embedthumbnail/placeholder?w=NaN&h=NaN caption="Clip to ScrapBook"]] ||

=Role Play Different Characters=

I usually take a story we have just read that has an interesting event in it. Then I assign different students to be the different characters in the story and have them tell about the event from their point of view. Sometimes they describe other characters from their point of view. For example, in The Witch of Blackbird Pond I have them describe Kit from Uncle Matthew's, Aunt Rachel's, Mercy's, and William Holbrook's point of view. All of them see her very differently. The kids usually really enjoy it.
 * ===point of view By Jo === ||  ||

=Different Animal Points of View=

What about having your students write from an animal's point of view. You could read aloud Diary of a Worm or Diary of a Spider, and then the students could choose an animal and write a diary entry or two. I did this when we read How to Eat Fried Worms and the students loved it and were very creative with it. They could illustrate their diary entry. OR Students could write a "Who Am I?" riddle on the outside of a folded piece of paper about an animal, and then create an artistic illustration of the animal on the inside of the paper (under the folded flap). Good luck!
 * ===Point of View By teach4TX === ||  ||

=Books For Teaching POV=



When a spoiled Little Wolf pooh-poohs his Lamburger and Sloppy Doe dinner, Father Wolf dreamily recalls a true delicacy. There was a time when a clever wolf could snatch a shepherd boy off a hill, he muses, leaning back in his overstuffed easy chair. Why, there was nothing better than a steaming plate of Boy Chops... and some Boys-n-Berry Pie. He and Mother Wolf promise to cook the first boy their finicky son can find. Thereafter, Little Wolf teases his nostalgic parents by yelling, Boy! Boy! for kicks. By the time Little Wolf spies a dozen plump Scouts hiking through the forest, his folks don't believe him anymore. Hartman (Bible Bad Guys) names many storybook meals, including Three-Pig Salad (with bricks, straw and sticks) and Granny Smith Pie, but never explains why boys are such an elusive quarry. Raglin (The Thirteen Days of Halloween) pictures the wolves as rustic homebodies in old-fashioned clothes, and Little Wolf as a prankster in short pants. His fine-line pen-and-ink illustrations, which have the dense crosshatching of woodcuts, seem immobile despite the keyed-up activity. This glib reversal of The Boy Who Cried Wolf has its slapstick moments, but can't top Jan Fearnley's Mr. Wolf books for sinister hijinks. Ages 5-up.

A talented team ingeniously up-ends the classic tale of the three little pigs, and the laugh-out-loud results begin with the opening illustration--a mother wolf lounges in bed, her hair in curlers and her toenails freshly polished, with her three fluffy, cuddly offspring gathered round. The wolf siblings, amply warned about the big bad pig, construct their first house of sturdy brick, a medium which resists the pig's huffing and puffing but is no match for his sledgehammer. Their abodes become progressively more fortress-like, and the pig's implements of destruction, correspondingly, grow heftier, until the wolves try another tack and weave a house of flowers. The fragrance so intoxicates and tames the pig that he and the wolves live together happily ever after. In his English-language debut (see note, p. 55), Trivizas laces the text with funny, clever touches, from an ensemble of animals who obligingly donate whatever building materials the wolves require, to the wolves' penultimate, armor-plated residence replete with a "video entrance phone" over which the pig can relay his formulaic threats. Oxenbury's watercolors capture the story's broad humor and add a wealth of supplementary details, with exquisite renderings of the wolves' comic temerity and the pig's bellicose stances. Among the wittiest fractured fairytales around. Ages 5-10.

Kindergarten-Grade 3-This clever, double story follows the fates of two young women. Readers know Cinderella, who works all day, sits in the cinders, and needs her fairy godmother to get the ball moving. But Cinder Edna next door has used her spare time to learn 16 different ways to make tuna casserole and to play the accordian. She earns money by cleaning out parrot cages and mowing lawns, and can she tell jokes. When the dance is announced, she dons the dress she bought on layaway, takes the bus to the ball, and wears loafers for dancing. She wins the attention of Prince Randolph's younger but dorky brother, Rupert, who loves to dance and tell jokes, and runs the palace recycling plant. Both women dash off at the stroke of midnight. The two princes' plans for finding the owners of the lost glass slipper and the beat-up loafer are a hilarious contrast. Ella ends up, of course, with the vain, boorish Randolph. Edna moves into a solar-heated cottage, caring for orphaned kittens and playing duets with her husband Rupert. O'Malley's full-page, full-color illustrations are exuberant and funny. Ella is suitably bubble-headed and self-absorbed while Edna is plain, practical, and bound to enjoy life. Kids will love this version of the familiar story for its humor and vibrant artwork. Buy two copies-one to circulate and the other to hoard for story hours.

Did the story of the three little pigs ever seem slightly biased to you? All that huffing and puffing--could one wolf really be so unequivocally evil? Finally, we get to hear the rest of the story, "as told to author Jon Scieszka," straight from the wolf's mouth. As Alexander T. Wolf explains it, the whole Big Bad Wolf thing was just a big misunderstanding. Al Wolf was minding his own business, making his granny a cake, when he realized he was out of a key ingredient. He innocently went from house to house to house (one made of straw, one of sticks, and one of bricks) asking to borrow a cup of sugar. Could he help it if he had a bad cold, causing him to sneeze gigantic, gale-force sneezes? Could he help it if pigs these days use shabby construction materials? And after the pigs had been ever-so-accidentally killed, well, who can blame him for having a snack?

PreSchool-Grade 2–The wolf's interpretation of what happened in the Little Red Riding Hood story tries too hard and misses the mark. He tells how he did odd jobs for Grandma and one day, as the woman was reaching into her wardrobe, she 'accidentally bumped her head and was knocked out cold. In a panic, he pushed her inside and donned her dress to fool the granddaughter who was knocking at the door. The text has several lapses in logic. In one situation, the girl says, What BIG ears you have, and the response is 'Oh, these old things,' I said, and changed the subject.' However, he didn't change the subject since the girl is the next to speak. Throughout the retelling, the wolf poses questions that are meant to exude innocence–Would I LIE to you? I did //nothing// wrong. Would I? Not everyone likes a wolf, do they? The watercolor-and-pencil illustrations reveal a shiny-faced young girl, a cozy-looking grandmother, and a scraggly gray wolf with sly yellow eyes. They offer interesting perspectives: bird's-eye views of the forest; looking into the wolf's eyes to see the reflection of a small red-coated girl; and a view of the child framed by the wolf's tooth-rimmed mouth. At story's end, the animal walks away with his shortened tail wrapped in a bloody bandage while telling readers that he's still available for hire.

Browne again proves himself an artist of inventive voice and vision as he creates perhaps his most psychologically complex work to date via a commonplace experienceAa brief sojourn to a city park. The author of King Kong and the Willy stories again features anthropomorphic chimps, who provide four unique perspectives: an uppity, overbearing mother and her glum son, Charles; and an unemployed fellow and his cheerful daughter, Smudge. What transpires factually is simple: the two children play together, their dogs do the same, the adults keep to themselves. Yet Browne reinvents and overlays the scene as each parent and child in turn describes their version of the events, altering light, colors and words. Browne sets up the tension by starting off with Charles's stylishly dressed mother, who lets her "pedigree Labrador," Victoria, off the leash and then scoffs at "some scruffy mongrel"(Smudge's dog). The matriarch similarly describes Charles's newfound friend as "a very rough-looking child." Through Charles's eyes, readers watch the tops of lampposts, gray clouds and a leafless tree take on the shape of his mother's large chapeau, as her hat-dominated figure casts a shadow over the boy. In the succeeding page, Browne cleverly frames a shift in Charles's mood with an illustration divided by a lamppost: threatening clouds and bare trees give way to blue skies and blossoming branches when a smiling, pigtailed (anything but rough-looking) Smudge on the sunny side of the park bench invites Charles to play on the slide. Browne offers readers much to pore over. His images reflect the human psyche; some are eerie (Edvard Munch's "The Scream" appears in the want ads; a burning tree provides the backdrop for mother and son's silent exit from the park), others uplifting. For example, the subjects of two portraits leaning on the park wall, a gloomy Rembrandt self-portrait and a weeping Mona Lisa, transform into a dancing couple under a street lamp fashioned from a flower, as the jobless man departs the park, cheered by his daughter. Although some discomfiting tonesAin both pictures and textA appear in the vignettes, Browne also celebrates the redeeming power of connecting with another human being. His creativity invites youngsters to tap into their own, as they look for clues between the trees and add their own spins to Browne's four interconnected tales. Ages 7-11.

In this new book by Van Allsburg, twice a winner of the Caldecott Medal, the theme of an outsider's point-of-view (touched upon most recently in his The Stranger ) is expanded. Accustomed to the orderly and uneventful life in the ant hole, all the ants enter the bizarre world of a kitchen in the search for sugar crystals for the queen. Two greedy ants stay behind in the sugar bowl, eating their fill and then falling asleep. Their slumbers end when a giant scoop drops them into a sea of boiling brown coffee. Further mishaps include a heated stay in the toaster, a hazardous swirl in the garbage disposal and a zap in an electrical outlet. When the ant troops return, the two bad ants gladly rejoin their friends and head for the safety of home. In this work, the hazards of nonconformity are clear. The narration has the feel of early newsreels where the broadcaster described unknown phenomena in clipped, clinical language: "A strange force passed through the wet ants. They were stunned senseless and blown out of the holes like bullets from a gun." The resilient ants and the eerie landscapes are portrayed in strong black-and-white images, enriched by deep brown, purple, slate, gold and steely blue colors; Van Allsburg, playing with perspective, creates marvelous contrasts and images. But although Two Bad Ants is visually different from its predecessors, it shares the same strong style, dazzling artwork and whimsy that characterizes all of the artist's work. Ages 3-8.

Raschka's innovative picture book aims to explore the nature of friendship in only 34 words. It's a risk, but as a writer and artist Raschka is no stranger to risk-taking--his debut ( Charlie Parker Played Be Bop ) was a sly, joyous exercise in avant-garde that stretched the definition of picture book. And here, he does the same. After the briefest of exchanges, two boys--one black, one white, one shy, one outgoing, one nerdy, one street-smart--decide to take a chance on friendship. Like a two-character play with no scenery and minimal dialogue, the story relies on the expressiveness of the "actors" and the raw energy of the artwork to hook the reader. Raschka's watercolor and charcoal pencil illustrations certainly do the trick--they're brash, witty and offbeat, and easily portray a vigorous range of emotion. At least in the small realm of this cheeky picture book, less is definitely more. Ages 3-6.

=Books to Teach POV= = = == = = = =