Формирование функциональной грамотности у учащихся — одна из ключевых задач современного педагога. [4] Одно из наиболее распространенных определений функциональной грамотности дал советский и российский лингвист и психолог Алексей Алексеевич Леонтьев: «Функциональная грамотность – это способность человека использовать приобретаемые в течение жизни знания для решения широкого диапазона жизненных задач в различных сферах человеческой деятельности, общения и социальных отношений». [3]
В Федеральных государственных образовательных стандартах общего образования читательская грамотность или смысловое чтение – важнейший метапредметный результат обучения (метапредметный – так как формируется при изучении различных предметных областей). [3] Таким образом, практика развития и оценивания функциональной грамотности в рамках образовательной деятельности обучающихся актуализирует проблему конструирования учебных заданий. [2] Каждый параграф учебника – это новый для ученика текст, к которому учитель должен построить группу вопросов/заданий разного уровня сложности, формирующих различные умения: находить в тексте информацию и формулировать выводы, интерпретировать информацию и применять ее в новых ситуациях, в том числе, не рассмотренных в учебнике. [3]
Целью статьи является конструирование заданий, направленных на развитие читательской грамотности обучающихся на уроках английского языка.
Материалы и методы исследования: методологические основания исследования (компетентностный, системно-деятельностный подходы к обучению читательской грамотности на материале УМК «Английский в фокусе», О.В. Афанасьева, Дж. Дули, И.В. Михеева и др., 10 кл), концептный подход к отбору и структурированию содержания заданий по читательской грамотности на уроках английского языка, функциональный подход к разработке учебных заданий).
Результатом исследования явилась разработка заданий по развитию читательской грамотности с целью практического применения на уроках английского языка с использованием УМК Spotlight 10, Module 7d Literature “The Phantom of the Opera”. [1: 128-129]
Задание 1
(Локализация информации текста согласно замыслу учащегося).
Did the ghost as a supernatural phenomenon really exist or not? Support your opinion with examples from the text.
Существовал ли призрак как сверхъестественное явление? Подтверди свое мнение примером из текста.
Chapter I: Is it the Ghost?
It was the evening on which the managers of the Opera, were giving a last gala performance to mark their retirement. Suddenly the dressing-room of Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage. They rushed in among great confusion, some laughing unnaturally, others crying in terror. Sorelli, who wished to be alone for a moment to go through the speech which she was to make to the resigning managers, looked around angrily at the mad crowd. It was little Jammes — the girl with the upturned nose, the forget-me-not eyes, the rose-red cheeks and the lily-white neck — who gave the explanation in a trembling voice:
"It's the ghost!" And she locked the door.
Sorelli's dressing room was decorated elegantly. A mirror, a sofa, a dressing-table and a cupboard provided the necessary furniture. On the walls hung a few engravings of her mother, who had known the glories of the old Opera. But it seemed a palace to the brats of the corps de ballet, who were in their dressing rooms, spent their time singing, quarreling, smacking the dressers and hairdressers and buying one another drinks until the stage bell rang.
Sorelli was very superstitious. She shook when she heard little Jammes speak of the ghost, called her a "silly little fool" and then, as she was the first to believe in ghosts in general, and the Opera ghost in particular, at once asked for details:
"Have you seen him?"
"As plainly as I see you now!", said little Jammes, who dropped with a moan into a chair.
Then, little Giry — the girl with eyes black as plums, hair black as ink, a dark complexion and a poor little skin stretched over poor little bones — added:
"If that's the ghost, he's very ugly!"
"Oh, yes!", cried the chorus of ballet-girls. The ghost had appeared to them in the shape of a gentleman in dress-clothes, who had suddenly stood before them in the passage, without their knowing where he came from. He seemed to have come straight through the wall."Rubbish!", said one of them. "You see the ghost everywhere!"
And it was true. For several months, there had been nothing discussed at the Opera but this ghost in dress-clothes who stalked about the building, like a shadow, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen. Like a real ghost, he made no noise in walking. People began by laughing and making fun of this specter dressed like a man of fashion or an undertaker; but the ghost legend soon grew to enormous proportions among the ballet dancers. All the girls pretended to have met this supernatural being. And those who laughed the loudest were not the most at ease. When he did not show himself, he betrayed his presence by causing accidents, for which everyone held him responsible. Whenever someone fell, or had a practical joke played on them, or lost something, it was at once the fault of the ghost.
After all, who had seen him? You meet so many men in dress-clothes at the Opera who are not ghosts. But his suit was a peculiar. It covered a skeleton, the ballet-girls said.
The chief stage designer had met the ghost on the little staircase which leads to the cellars. He had seen him for a second — for the ghost had fled — and claimed that:
"He is extraordinarily thin and his dress-coat hangs on a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see two big black holes, as in a dead man's skull. His skin, which is stretched across his bones like a drum, is not white, but a nasty yellow. His nose is so little that you can't see it from the side; and THE ABSENCE of that nose is a horrible thing TO LOOK AT. All the hair he has is three or four long dark locks on his forehead and behind his ears." [1]
Обучающиеся формулируют собственную гипотезу на основе полученной из текста информации.
Задание 2
(констатирующие вопросы)
Read the text and choose the correct answer (A-D) for questions 1-5.
1. Who are talking about the ghost?
A. The dancers
B. The Opera Directors
C. The stage workers
D. The singers
2. Sorelli's dressing-room...
A. was fitted up with official, commonplace elegance.
B. had known the glories of the old Opera.
C. was decorated like a palace.
D. had no pictures printed from an engraved piece of metal or wood.
3. Sorelli…
A. didn’t shudder when she heard little Jammes speak of the ghost.
B. wasn’t eager to know the details.
C. didn’t believe in ghosts in general.
D. believed that particular objects or events are lucky or unlucky.
4. The ghost....
A. played particular jokes on girls.
B. laughed the loudest.
C. was responsible for injuries and damage.
D. didn’t reveal exact places where he came from.
5. According to the chief stage designer, what is the ghost description?
A. He wears a white cape and a beautiful mask.
B. He wears a white coat with a yellow face, no nose and black holes for eyes.
C. He wears a black cape and make up before the Opera.
D. He wears a black coat with a yellow face, no nose and black holes for eyes.
Задание 3
(Локализация искомой информации по смыслу)
A well-known proverb says «Fear has magnifying eyes». In the extract find necessary phrases to back it up.
«У страха глаза вели» гласит известная пословица. Найдите в отрывке фразы, подтверждающие ее истину.
Задание 4
(Локализация информации по месту ее размещения)
How did the ballet dancers' behavior revealed their emotional tension? Why was everyone in the opera afraid of the ghost? Make note of the paragraph number that contains the answer to these questions.
Как поведение балетных выдавало их эмоциональное напряжение? Почему все в опере боялись призрака? Запишите в тетрадь номер абзаца, в котором содержится ответ на эти вопросы.
Задание 5
(Сопоставительная таблица по материалам отрывка)
Read the chapter carefully one more time and fill in the table to help you describe the novel characters. (Shaded sells do not require entries).
Внимательно прочитайте главу еще раз и заполните таблицу, которая поможет вам описать героев романа. (Отмеченные затемнением ячейки не требуют заполнения).
|
Characters |
appearance |
personality/ nature |
|||
|
eyes |
nose |
complexion |
hair/cheeks/neck |
||
|
Little Jammes |
|
|
|
|
|
|
Little Giry |
|
|
|
|
|
|
The Ghost |
|
|
|
|
|
Обучающиеся заполняют таблицу, на основе которой описывают внешность персонажей.
Заключение
Предложенные автором статьи задания по развитию читательской грамотности могут выполняться на уроках английского языка (с использованием имеющегося в школе УМК), так как они отвечают требованиям согласования критериев функциональной грамотности и содержания образовательной деятельности обучающихся.