english language arts - new york state education … · · 1999-12-02reading and reflecting on a...

THE STATE EDUCATION DEPA RT M E N T

English Language ArtsEnglish Language Arts

THE UNIVERSITY OF THE STATE OF NEW YORK

PART I.A

Language Experiences ...................................2

Best Practice.....................................................3

Scope and Sequence .......................................5

Literary Genres................................................8

Students with Special Needs.........................15

NOTE: This document is a work in progress. Parts IIand III, in particular, are in need of further develop-ment, and we invite the submission of additionallearning experiences and local performance tasks forthese sections. Inquiries regarding submission ofmaterials should be directed to: English LanguageArts Resource Guide, Room 681 EBA, New Yo r kState Education Department, Albany, NY 12234 (tel.518-474-5922).

Resource Guide

http://www.nysed.gov

2 English Language Arts

Language Experiences Required Of All Students

Children acquire language through practice, directinstruction, and numerous encounters with exemplarymodels. Research on language learning makes it very

clear that language achievement depends upon the extent towhich the learner is engaged in actual acts of reading, writ-ing, listening, and speaking for meaningful purposes. The fol-lowing list of required learning experiences is based on rec-ommendations from the professional literature and isintended to assure that all students have enough experiencewith language to enable them to use it proficiently and effec-tively.

Students will:Read a minimum of 25 books or the equivalent per year across all content areas. The readingwill include long and short works from classic and contemporary literature, adolescent fiction,nonfiction books and articles, nontraditional genres such as diaries and journals, little-knownworks, students’ own writing, and electronically-produced texts.

Write an average of 1000 words per month across all content areas. The writing will include for-mal, structured assignments; writing-to-learn activities such as summaries, learning logs,response journals, and other spontaneous and exploratory writing; and self-sponsored writingfor which students have selected their own topics, purposes, and audiences.

Listen on a daily basis for specific purposes across all content areas. The listening includes fre-quent opportunities to gather essential information from such sources as group discussions, lec-tures, speeches, and broadcasts; to hear or view imaginative texts such as plays, films, or poetryreadings; to analyze and evaluate oral arguments, speeches, or debates; and to attend to theideas and perspectives of others in informal settings.

Speak with adults and peers on a daily basis to investigate topics across all content areas. Thespeaking will include informal situations such as class discussions, small-group interactions,and class meetings, as well as formal situations such as debates, panel presentations, and formalpresentations.

We have learned thatmastery of language

comes with its purposefuluse and that attempts toteach the bare skills bypractice exercises arebound to fail.

James Britton, 1982

“

Curriculum Essentials 3

Best Practice: What Research Tells Us

Research that both informs and is informed by practice can have a powerful effect on teach-ing and learning. The following factors have been consistently identified in the professional lit-erature as having a positive influence on achievement in English language arts and are thereforelikely to foster achievement of the Learning Standards.

■ Extensive readingExtensive reading of material of many kinds, both in school and outside, results in sub-stantial growth in the vocabulary, comprehension abilities, and information base of stu-dents.

■ Interactive learningLearning in which children and young people are involved in thinking about, writingabout, and talking about their learning produces far more effective growth than instruc-tion in which they are passive.

■ Extension of background knowledgeThe more a reader knows about the topic of a text, the better the reader is able to con-struct meanings from the text.

■ Instruction in reading and writing strategiesWhen strategies spontaneously used by skilled readers and writers are intentionallytaught to less skilled learners, those strategies contribute to improved reading compre-hension and written composition.

■ Integrated activitiesOrganizing instruction into broad, theme-based clusters of work through which reading,writing, and speaking activities are interrelated promotes understanding of the connec-tions among activities and ideas.

■ Attention to skillsMany children will not automatically acquire such basic skills as word attack or gram-mar without direct instruction. However, when children with reading problems receiveskills-based instruction to the exclusion of ample opportunities to read for meaning, thedevelopment of both vocabulary knowledge and reading comprehension suffer.

■ Discussion and analysisInstruction that emphasizes discussion and analysis rather than rote memory con-tributes most effectively to development of students’ thinking abilities.

■ A range of literatureReading and reflecting on a range of traditional and nontraditional literary works ofhigh quality can help young people learn about the ideas and values of their own andother cultures, as well as about the experiences of different groups.


■ Emphasis on the writing processDevoting time to all the processes involved in composing (planning, drafting, sharing,revising, and publishing) contributes to improved competence in writing.

■ Imaginative and informative languagePrograms that provide balanced attention to both imaginative and informative reading,writing, listening, and speaking promote competence in handling discourse of manykinds.

■ Early interventionCarefully-designed early intervention can produce significant long-term improvementin reading and writing. However, research warns against extensively isolating childrenfor remedial instruction and highlights the need to provide extensive opportunities forchildren to read and write, rather than merely drill and practice of skills in isolation.

■ Appropriate assessmentAssessment that focuses on what is being taught in a school’s curriculum and on themodes of instruction used in the curriculum promotes learners’ growth toward curricu-lar goals. It follows that alignment between curriculum and assessment must beginwith goals that are central to the purposes for schooling.

Adapted from: Squire, James A. Chapter 6a. Language Arts. Handbook of Research on Improving Student

Achievement (Gordon Cawelti, ed.). Arlington, VA: Educational Research Service, 1995.


GENRES:

Fictionpicture booksfolktalesfableslegends

Nonfictionarticles for

childreninformative

children’s books

Poetrynarrative lyricfree verse

LITERARYELEMENTS

Charactersmajor and

minor

Plotincidentssequence

Settingtime and

placeinfluence on

characters

Thememain ideasmeanings

Poetic elementsrhythmrhymestanza

TEXTUALFEATURES

AuthorTitleIllustrator

lists captionsnotes messagessimple storiesinvitationsinstructionsfriendly letters

Alphabetic principlesound-symbol correspondence

Conventions of printpunctuationspellinghandwriting

Patterns and Structuresword familiessentence sense concept of story

Language Conceptswordsentence

By end of grade 2

Capitalizationbeginning of sentencesfor the pronoun “I”for proper names

Punctuationend marks (period, question mark,

exclamation pt)

Spellingmost common 100 words

Suggested Scope and Sequence for Literary Understandings, Forms of Writing, and Language Conventions

The following Scope and Sequence reflects a synthesis of the concepts and compe-tencies embedded in the Standards, as well as those derived from documents from avariety of districts across the state. Literary understandings, language skills, andforms of writing are listed at the level at which they are commonly taught. Older chil-dren should continue to perfect those understandings, skills, and forms taught in theearlier grades throughout their years of schooling, and younger students may begin toacquire those understandings, skills, and forms before they receive formal instruction.

Literary Understandings Forms of Writing Language Skills and Conventions


GENRES

Fictionpicture booksfolktalesfableslegendsmythsshort novelsdrama

Nonfictioninformational

books andarticles

biographiesbooks of true

experience

Poetrylyricnarrativefree verse

LITERARYELEMENTS

Character andcharacterization

traitsmotivationconflicts:

internalandbetweencharacters

dialogue

Plotconflictresolution

Settingcultural

features

Thememajor ideas

andmeanings

moral

Poetic elementsfigurative

languageimageryrhyme

schemes

TEXTUALFEATURES

Table of contents

IndexGlossary

Language Structure

A. Words roots, prefixes, suffixessynonyms, homonyms, antonyms

B. Parts of Speechnounverb— types — action, linking, helping— forms — singular and plural— tenses — present, past, and futuremodifiers — adjective and adverb

C. Sentencestypes of — simple and compoundparts of — subject and predicate (and

agreement in number)

D. Paragraphs

Capitalizationproper namessentence beginningstitles

Punctuationend markscommas in series, dates, saluation,

direct address, dialogueapostrophes in contractions and pos-

sessivesquotation marks in simple dialogue

Spellinghomonymscommonly misused pairs of wordscontent area vocabulary

summariesparaphrasesoutlinesdirectionsshort reportsnews articlesjournalspersonal

narrativesdescriptionsstoriespoemsbook reviewsbusiness

lettersadvertisements



GENRES

Fictionshort storiesnovels folktalesfablesmyths and legendsdrama

Nonfictioninformational books and

articlesbiographiesbooks of true experienceessaysspeecheshistorical documents

Poetrylyricnarrativeballad

LITERARYELEMENTS

Character andCharacterization

protagonist/antagonist

stereotypedialect

Plotsubplotforeshadowingflashbackclimax

Settingcultural features

Themethematic statementsthematic elements

Point of viewfirst person narratoromniscient narrator

Tone/Moodword connotationirony

Poetic devicessymbolismmetaphor & similemeteralliterationpersonification

multiple sourcereports

persuasiveessays

personalessays

commentariesinterpretationsdialoguesstories in tradi-

tional forms(e.g. fable,myth)

charactersketches

scriptsbiographical

reportcharacter

analysisdemonstration

speech

Language StructureA. Parts of Speech

nounverb (all tenses)adjective and adverb (comparative and

superlative)pronouns (nominative and objective)conjunctions (coordinating, subordinat-

ing, correlative)prepositions and prepositional phrasesinterjections

B. Sentencestypes — simple, compound, complex agreementsubject/verbverb tensepronouns (case, number, referent)with correlative conjunctionssentence errorsdangling and misplaced modifierssentence combining

Compositionorganization and developmentdiction

Punctuationof simple, compound, and complex

sentencesof dialogueof titles of articles

Spellingcommonly misspelled wordshomonymscontent area vocabulary

GENRESFiction

short storiesnovels folktalesfablesmyths and

legendsdrama

Nonfiction informational

books andarticles

biographiesbooks of true

experienceessaysspeecheshistorical

documentsPoetry

lyric,includings o n n e t , o d e ,elegy

narrative,includingepic andballad

dramatic

LITERARYPERIODS

A. EnglishAnglo-SaxonMiddle

EnglishRenaissanceElizabethanNeo-ClassicalRomanticVictoriancontemporary

B. AmericanColonialRevolutionaryRomanticRealisticNaturalisticContemporary

LITERARYELEMENTS

In addition to theliterary elementsexpected at theintermediatelevel.

characteristicsof thegenres

metricalpatterns

allegorys t r e a m - o f -

c o n s c i o u s -n e s s

ambiguity

researchreports

feature articleseditorialsanalyses of

issuesthesis/support

paperstechnical

reportsformal

speechesliterary analy-

sesautobiographi-

cal sketchesshort storiespoems in tradi-

tional formsfilm, theater,

book reviewscritiquesplayscriptsscreenplayse-maillistservs

Language Structure

Sentencesparallel constructionsentence combining

Compositionstyleunitycoherencelevels of diction

(The high school curriculum continuesexpectations for control of the conventionslearned in elementary and middle grades.)



Important Literary Genres K-12

Abalanced English Language Arts program requires that students experience a variety ofliterary forms and genres. The chart that follows suggests many opportunities for helping stu-dents to read for the purposes described in the Learning Standards for English Language Arts.

1. Picture books (Mother Goose, ABCand counting books, toy books,concept books, wordless books,pattern books, easy-to-read books)

2. Traditional literature

Folktales

Myths

• Plots are simple, fast-paced, pre-dictable.

• Characters and their actions appealto young children.

• Illustrations contribute to story line.• Rhyme, repetition, refrain encourage

reading aloud.• Story and language appeal to sense

of humor through word play, non-sense, surprise, exaggeration.

• Illustrations encourage participationthrough naming, pointing, seeking.

• Time and place are generic (e.g.,“Once upon a time in a faraway cas-tle. . .”).

• Stories are not intended to beaccepted as true.

• Plots use predictable motifs (ogre s ,magic, supernatural helpers,quests).

• Story line is frequently a series ofrecurring actions.

• Characters are one-dimensional.

• Stories are seen as true in the repre-sented society.

• Plots are often associated with re l i-gion or ritual.

• Accounts frequently explain naturalphenomena.

P i c t u re books provide pleasure forbeginning readers, familiarize themwith the language of books, andenhance understanding of conceptsand abstract ideas. Picture books canalso be used with advanced readers toi n t roduce story stru c t u re, allegory,characterization, or the effects of cer-tain literary devices.

Traditional literature continues the oraltradition and reveals the values andbeliefs of a culture. It provides oppor-tunities for discussing human problemsand solutions, morals and values, andthe contributions of diff e rent culture sto our own society. Folklore is a naturals o u rce of material for storytelling, cre-ative dramatics, creative writing, andartistic interpretation.

TEXT DISTINGUISHING FEATURES COMMENTS

FICTION


Fables

Legends

Epic literature

3. Fantasy and science fiction

• Tales concern human conduct withmoralistic overtones.

• Animals exhibit human qualitiesand behaviors.

• Plots record deeds of past heroes.• Stories are presented as true.• Stories are usually secular and asso-

ciated with wars and victories.• May include explanation of local or

regional events.

• Long narratives detail the adven-tures of a single heroic figure.

• The center of action may re v o l v earound the relationship between theheroic figure and the gods.

• The main character symbolizes theideal characteristics of greatness.

• Many were originally written aspoetry or songs.

• Language is lyrical, stately, and richwith images.

• Characters or settings depart fro mwhat is realistic or expected.

• The author makes the impossiblebelievable through logical frame-work and consistency, character ’ sacceptance of the fanciful, and useof appropriate language.

• Characters include humanized ani-mals, good and evil stere o t y p e s ,eccentrics, heroes and heroines withmagical powers, or extraterre s t r i a lbeings.

• Plots may reflect a heroic battle forthe common good (high fantasy) ora d v e n t u res of real characters in anenchanted setting (light fantasy).

• Science fiction relies on hypothe-sized scientific advancements andraises questions about the future ofhumanity.

Reading fantasy nurtures the imagina-tion and can help young students cometo grips with the diff e rences betweenreality and truth. For older students,fantasy and science fiction can be use-ful vehicles for examining issuesrelated to human survival in an uncer-tain future. Well-written fantasy pro-vides exemplars of well-constru c t e dplots, convincing characterization, uni-versal themes, and evocative language.




4. Realistic fiction

5. Historical fiction

6. Mystery

7. Drama

• Content addresses aspects of copingwith life (peer relationships, death,identity, family problems, handicap-ping conditions, courage, survival).

• Plots, settings, and characters reflectthose found in real life.

• Endings are not always happy, butreality is frequently relieved by witand humor.

• Stories are grounded in history butnot restricted by it.

• The historical setting is an authenticand integral part of the story.

• Characters’ actions, dialogue,beliefs, and values are true to thehistorical period.

• Themes include loyalty, friendship,courage, and the conflict betweengood and evil.

• Tightly woven plots have elementsof suspense, danger, or intrigue.

• Plots are fast paced and fre q u e n t l yinvolve foreshadowing or flashback.

• The plot is carried by the dialogue.• The number of characters is limited.• Description and narration are infre-

quently used.• S t ru c t u re is well-defined, with seg-

ments clearly divided by acts orscenes.

• The play’s ending marks the resolu-tion of the conflict.

Realistic fiction that is honest andauthentic evokes feelings of personalidentification with the story charactersand allows students to discover thattheir experiences, needs, and emotionsare not unique.Realistic fiction can help students gaininsight into their own feelings as wellas understand the feelings of others. Itcan also allow students to try on ro l e sand rehearse possible future experi-ences. Realistic fiction can stimulatediscussion and provide “a way in” toother kinds of reading for re l u c t a n treaders.

Books and stories of historical fictioncan make the past more vivid andi n t e resting to students. They can sup-plement content-area textbooks at allgrade levels, providing knowledgeabout the people, beliefs, hard s h i p s ,and events of a particular historicalperiod. Historical fiction helps studentsto discover their own heritage as wellas to see and judge the events of thepast.

The best mysteries have well-drawncharacters and well-stru c t u red plots.Students enjoy reading them and cani m p rove their problem-solving skills,reading rate, reading for details, andvocabulary development through thisfictional form.

Plays appeal to young students fortheir immediacy and brevity. Their usep rovides clear illustration of storys t ru c t u re, allows for participation byseveral students at a time, and encour-ages dramatic interpretation of othergenres.For all students, the challenge to write aplay would underscore the uniquenessof this literary form, in which the plot,theme, and characterization are carriedby the dialogue.


NONFICTION


1. Informational books and articles

2. Biography

3. Books of true experience

4. Essays, journals, letters, and per-sonal accounts

• Information is factual and may besupported by detailed descriptions,examples, definitions, or quotationsfrom authorities.

• Mode of presentation may be expos-itory, narrative, or descriptive.

• Content may include history andgeography, science and nature, hob-bies and crafts, experiments, discov-eries, and how things work.

• O rganization follows a logical pat-tern and may include textual aids(e.g., Table of Contents, chapterheadings, marginal notes).

• Illustrations clarify text and addauthenticity.

• Subjects include explorers; politicalh e roes and heroines; and achieversin literature, science, the arts, andother disciplines.

• E ffectiveness depends on accuracy,a u t h e n t i c i t y, and an appealing nar-rative style.

• Content relates to specific episodesor events from a person’s life over alimited time span.

• Author may be the central figure oran objective narrator.

• Content is based upon or adaptedf rom original documents in diary,letter, or essay form.

Informational books and articles areexcellent resources for reading, writing,or hands-on activities on topics of inter-est. They are frequently superior totextbooks in that they may pro v i d esharper focus, present more specializedinformation, or more clearly reveal thea u t h o r’s point of view. They are ane ffective vehicle for teaching org a n i z a-tional patterns such as cause-eff e c t ,comparison-contrast, time ord e r, orsequence. At all levels, informationalmaterial provides provocative contentfor discussion, from how kittens gro wto Shakespeare’s England.

Reading about the achievements of oth-ers may help students to see history asthe lives and events of real people, andto appreciate the contributions of allc u l t u res. For adolescents, biographiesmay help to increase their own aspira-tions and provide role models for theirown lives. They also serve as a usefulvehicle for studying bias, fact vs. opin-ion, and characterization.

Books of true experience provide an in-depth look at a contemporary or histor-ical event or series of related events.Students will broaden their under-standing of those events and situationsby seeing them in their cultural andhistorical context as well as by observ-ing the effects of those events on anumber of people.

Documentary re c o rds on such diversetopics as slavery, life in 12th-centuryEngland, or songs of the A m e r i c a nRevolution provide excellent supple-ments to historical fiction or re s o u rc e sfor creative dramatics.



5. Historical documents and speeches

6. Newspapers and news magazines

7. Electronic-based communication(e-mail, listservs, etc.)

• O fficial statements of social andpolitical significance may includeinformation about the author andsetting of each document.

• Writing style is simple and direct.• C u r rent events are reported accu-

rately and objectively.• Organization is based on who, what,

when, where, why, how.• Vocabulary is functional.• Content provides something for

every student: news, editorials,comics, new discoveries in science,real math problems, etc.

• Writing style is simple and direct.• Vocabulary is functional.• Communication is immediate.• Writing conventions appropriate to

the medium are learned.

R e p roductions of original documentshelp students discover the languageand style of early writers, as well asp rovide clues to the lifestyles and atti-tudes of people in an earlier time.Contemporary speeches may be usedas a source of information about politi-cal and social issues, as a basis of com-parison with the language and con-cerns of the past, and as a vehicle forthe study of persuasion.

Newspapers and news magazines areadult media, thereby providing motiva-tion for reluctant readers. The bestnews stories are models of concisenessand clear writing; the best editorials aremodels for teaching students to writefor a particular audience and purpose.Newspapers are practical, flexible,inexpensive supplements to an Englishlanguage arts curriculum.

Students are highly motivated to usecomputer technologies to meet theireducational and re c reational needs.E l e c t ronic-based communications israpid, current, relevant, and incre a s e sthe potential that students will seekadditional information on topics ofinterest.



POETRY

1. Ballad

2. Narrative

3. Lyric

4. Sonnet

5. Free verse

• Poems give the effect of a song; aretold with dramatic flair; usuallyfocus on a single incident; fre-quently use dialogue, refrain, andrepetition.

• Content usually deals with hero i cdeeds, love, tragedy, feuds.

• Verses tell a story.• Action is fast; plot develops rapidly

and is usually related in chronologi-cal order.

• Humor is frequently employed.

• Poems are rhythmic and melodic,evoking images and inspiring mem-orization.

• Content is usually personal ordescriptive.

• Verses contain 14 lines, usually iniambic pentameter, with a formalrhyme scheme.

• Poems depend upon rhythm andcadence, rather than rhyme, for theireffect.

Ballads continue the oral tradition anda re an excellent source of material fordramatization.

Story poems are among students’favorite poetic forms. For this re a s o n ,they provide an excellent way of cap-turing students’ interest in poetry.

Lyric poems are frequently the firstpoems students want to memorizebecause of their rhythm, beauty of lan-guage, and reflection of a poet’s per-sonal response to a topic.

Sonnets are long enough to allow fordevelopment of thought, yet theyrequire precision in language and form.For this reason, sonnets provide excel-lent examples of disciplined use ofrhyme, rhythm, and imagery.

The lack of rhyme and less predictablemeter of free verse make this form agood introduction to the question“What is poetry?” Students are fre-quently surprised to learn that rhyme isnot a requirement of poetry.



6. Patterned poetry

Limerick

Haiku

Cinquain

Diamante

Tanka

7. Concrete poems

• Verses have five lines with first, sec-ond, and fifth lines rhyming; thirdand fourth lines are shorter andrhyme with each other.

• Content is usually humorous, withlast line ending in a surprise twist.

• Form consists of 17 syllables within3 lines (5-7-5).

• Content relates to mood or feelingsevoked by nature or the seasons.

• Structure may follow a five-line, 2-4-6-8-2 syllable pattern or may followa simpler form using words per linein a 1-2-3-4-1 pattern.

• S t ru c t u re follows a diamond shapeof seven lines, as follows: one noun,two adjectives, three participles,four related nouns or a phrase offour words, three participles, twoadjectives, one noun.

• Structure follows a five-line, 5-7-5-7-7 syllable pattern.

• The message of the poem is revealedthrough the choice and arrangementof words on the page.

Asking students to write their own pat-terned poetry encourages word playand challenges them to create rh y m eand rhythm in a stru c t u red format.Both the reading and the writing of pat-terned poetry demand discipline.Writing it re q u i res searching for theperfect word to express the desire dimage. Reading it requires constructinginferences to recreate the poem’s mean-ing. Many students enjoy composingpatterned poetry in pairs or teams.

Reading and writing concrete poemscan help students to appreciate theimportance of putting meaning befores t ru c t u re, aid visual imagery, encour-age creative thinking, and makeabstract ideas more immediate and tan-gible. This poetic form is also fun tocreate at the computer.

*This chart is reprinted from Reading and Literature in the English Language Arts Curriculum K-12, The NYSEducation Department,1992, and is adapted from the following:

D. Norton, Through the Eyes of a Child, E. Merrill Publishing Company, 1983.C. Huck, Children’s Literature in the Elementary School, Holt, Rinehart, and Winston, 1979.B. Cullinan, Literature and the Child, Harcourt Brace Jovanovich, 1981.


A Guide to Helping Students withSpecial Needs

New York State’s learning standards apply to all students, regardless of their experiential back-ground, capabilities, developmental and learning differences, interests or ambitions. The Boardof Regents recognizes the diversity of students in New York State, including students with dis-abilities, students with limited English proficiency, gifted students, and educationally disadvan-taged students, and has made a strong commitment to integrating the education of all studentsinto the total school program.

Aclassroom typically includes students with a wide range of abilities who may pursue multiplepathways to learn effectively, participate meaningfully, and work toward attaining the learningstandards. Meeting the educational needs of learners with unique talents and diverse abilities isa challenge for all teachers. As greater numbers of students with individual support needs areeducated in regular education settings, it becomes increasingly important to ensure opportuni-ties for collaboration among general, special, gifted, compensatory, bilingual educators and par-ents.

The success of meeting the needs of all students in general education environments requiresthoughtful planning, an openness to new approaches, and a commitment to frequent assessmentto ensure student progress. The process of identifying and assessing individual student learninggoals, within the context of integrated learning experiences, is one way to provide for the uniqueneeds of diverse learners. Students must have available to them opportunities to apply the uni-versal foundation skills such as thinking skills, interpersonal skills, and skills that require theuse of technology and personal resources.

The process of adapting curriculum, learning materials, instructional approaches, and the class-room environment is one way to ensure that students with unique abilities and interests areafforded meaningful participation in elementary classrooms. Many educators in New York Statehave found that collaborating with others to design curricular adaptations is helpful.Collaborative instructional planning enables teachers to identify the multiple pathways that stu-dents may need to learn effectively, participate meaningfully, and to work successfully towardachieving higher levels of learning.

KEY QUESTIONS to consider when designing curricular and instructional adaptations.

Does the adaptation...

• provide for greater student participation in the classroom?• build on learner abilities and interests?• improve student access to developmentally-appropriate classroom activities?• reflect high expectations for continued progress toward achieving at higher levels? • challenge the student in meaningful ways?• allow capable students to extend their learning and realize unique potential?• reflect an appreciation for the unique contribution that all students can make to the

classroom?• establish a high value on the individual needs of all learners?• allow for greater student access to career development activities?

english language arts - new york state education … · · 1999-12-02reading and reflecting on a...

Documents