Mind-modelling and classroom interaction

studyingfiction

In this post we are going to step back from the literature classroom specifically to explore what a concept from cognitive linguistics – mind-modelling – can offer to our understanding of classroom discourse, both in English and across the school.

Mind-modelling (Stockwell 2009)

Rooted in cognitive research on Theory of Mind (Premack and Woodruff 1978), mind-modelling offers a useful way for us to conceptualise how we think about and understand what’s going on in other people’s heads. Theory of Mind is typically associated in popular discourse with autism, but it’s actually got a much broader focus. In essence, having a ‘Theory of Mind’ can be understood as the awareness most humans intuitively – often unconsciously – have that other people have minds of their own, think things, and act and speak as a result of their thought processes. Theory of Mind also includes our knowledge that other people can’t see…

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Behind the Selfie-Stick Smile – Schools’ Commitment to Wellbeing for Girls 

I’m a mother first, teacher second. But it was as both of these that my heart sank at the recent

removal of Natasha Devon as mental health champion for schools. I teach in an independent school

so Devon’s ousting won’t affect our relatively enlightened approach to pupil wellbeing. But what a

message it sends out to the nation as to how we value good mental health, surely educators’ most

fundamental obligation – at a time when self harming is up 70% in two years and 48% of 11-14 year old

girls avoid some school activity due to hating the way they look *.
As one pundit recently put it ͚’Education is too one-dimensional to cope with the complexities of 

being human’. We can’t just expect children to ‘get through it’ like we did. They are not like we were. Yes,

I did spend some of my youth in front of Little House on the Prairie with a Waggon Wheel while my

mum went out to work. It didn’t verge on the child abuse and I survived without PTSD. Yes I did have

a few detentions once; I was embarrassed, but not broken. Yes I spent summer holidays not on the

Algarve but in our damp caravan with my sister, the dog and a packed lunch. We learned how to tell

imaginative stories and make gloriously messy lemonade. Yes, I did get a D in Maths and had to redo

it before achieving the heady delights of a C. It didn’t stop me pursuing an academic career, albeit not as

an accountant. Today,  it’s a completely different world. The demands on our youth are quite

terrifying and their fear of getting it wrong greater than ever.

I worry for our daughters. Some of them seem to have every hour in the day spent in structured

activity. Tutored to the point where they can’t think for themselves anymore they suffer

performance anxiety, body image issues (what is this obsession 13 year olds have with big lips? 13)

and friendship anxiety, fuelled by social media obsession feeding a whose-got –the-most

friends/best party/coolest boyfriend/straightest hair/highest results paranoia.

This is not exclusively a female issue, of course. My 14 year old son recently had experience of a

friend of his taking his own life. I’m not about to go into the details – I don’t even know all of the

details – suffice to say it shook the community to its core and so it should.

We all want happiness first for our children, don’t we? Or if that͛s too nebulous – a contentendness,

a peace within themselves. What parent would value 12 A*s over that? Yet it is the latter by which

society continues to judge our schools and our children. Schools whose mission statements rate

wellbeing as a priority generally maintain that this does not come at the expense of excellent results

– they would wouldn’t they? But where does this leave our children? Once again, the pressure is on

them to excel academically as well as the playing field, the debating chamber, the art studio, the

orchestra pit – all with a with a selfie-stick smile on their face that says ‘I’m a girl and what I do best

is to please everyone’.

 

If my daughter was 10 and I was looking for a school now, I would be asking: How will you help me 

as a mother bestow the skills of being resilient and strong; of having values, imagination, grit, 

emotional intelligence, problem solving, creativity, people skills, honesty, loyalty, integrity? I

would really push for specific examples. The overarching philosophy needs to be there of course, but

until the Government puts wellbeing back on the agenda, I would want the details. What is the

questioning policy and practice in the classroom? How is marked work fed back? How do girls play

to their own strengths in the classroom? Where are the opportunities for girls to take risks? How

does the joined up thinking work so that girls are not overloaded? How do you manage the provision

of the academic with their overall co-curricular opportunities? How do you check in on girls͛

wellbeing? How do you know they are as happy as is possible for a teenage girl to be? And I’d be lobbying

the Government like crazy.

* The Guardian ‘Teachers have to be therapist one moment, social worker the next’ 31 May, 2016

Litera-cy what I did there? The golden three rules to making it count. I think.

SaysMiss

Literacy? I’ve got this. I think.

After convincing anyone within teaching distance that I would make a difference to a whole school approach to literacy, in addition to the recognition of its value within and outside of school, I am just about to embark on my first year as whole school literacy coordinator. So, big boots, you had better live up to your big talk.

I have learned my lesson to some degree at least since my PGCE- less is more. Do things that will stick, things that will be memorable and things that will spark curiosity. I mapped out oodles of ideas before settling on six key elements that I wanted to embed and gauge impact over the following year. I figure that if I blog about them, one of the following things will happen; I will receive constructive criticism from one who knows better, I will inspire someone…

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Hello world!

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There was great delight among writers when Creative Writing was introduced as an A Level. Here, SHARON STEAD shares her experience of teaching the new qualification for the first time…

This goes out to anyone teaching AS Creative Writing for the first time this year. Chances are you will be nearing the coursework final draft stage as this forms the bulk of the course content. You’ve doubtless spent the best part of the year developing creativity and confidence in your students. You’ve cajoled, inspired, prodded, work-shopped, pummelled and polished. Their prose and poetry has, maybe for the first time, an audience with whom they’ve learned to trust their inner-most voice. They feel validated as writers and we feel magnificent. Right?
But of course, this is only part of the story. 60% to be exact. The remainder of their AS course is made up of the less glamorouInk Pellets but nonetheless, potentially rewarding exam component. Writing on Demand might initially seem to go against everything else you’ve been encouraging in your students for their coursework portfolios. ‘Give yourself space and time’, we have said. ‘Stop the white noise and listen to your inner voice’, ‘be playful with words’, ‘explore’ ‘have fun’ … Now we seem to be saying ‘know your audience’, ‘stick to the brief’, ‘edit as you write’, ‘do it really, really quickly’, ‘and do not exceed much over 300 words’. No wonder they get nervous.
It’s a big ask. Indeed, it’s more than likely that even a hardened hack in a Soho editorial office would have some idea of who on earth he’s writing for an hour before a deadline. So yes, it’s a challenge. But the good news is that there are ways your students can capitalise on all of their free writing experience, fulfil a brief with clear and tight precision, and still produce a piece that is ambitious and imaginative.
It’s worth us remembering that AS Creative Writing students come to us having been dragged through the GCSE Language paper which, (can I say this publicly?) can be a bit dull (too late). They were up against it time-wise, having had to gen up on so many writing purposes that it probably felt they never really got to intensively study the nuances of any form, purpose and audience beyond the mechanics. Yet they are, just a year later, asked to emulate professional feature writers, marketeers, Public Relations specialists or columnists – and all against the clock.
Many CREW teachers also teach Literature; indeed it’s perhaps the specialism in which most of us hold degrees. It is territory we can navigate. We explore texts, we discover critical material, we immerse ourselves in the canon, the genre, the themes and contexts. It’s all there – we invite students to draw it out. Conversely, the blank page of the Creative Writing student can feel like a wilderness, with notional, vague, approximate signposts leading everywhere and nowhere. Reading lists – while only as strong as the reading matter on it – are crucial in exposing students to different styles from Bill Bryson, Louis Theroux and Giles Coren, to India Knight, Truman Capote and Alison Pearson. Students must read, read, read, exploring and emulating a range of voices and creating their own repertoire of style, tone for themselves.
For Writing on Demand, students have to create the work from a brief that is designed to surprise and draw upon skills rather than knowledge – and they need to bring into play all you have taught them about finding an authentic voice. This is the key. All of those character studies, hot-seating exercises, tasks on structure, pitch and pace… these are not just for the coursework portfolio. They are crucial to the success of the writing on demand task. To find a voice they will need to establish a connection with their subject so they can explore it beneath surface level. Are they trying to persuade their readers of something? Change their minds? Just make them think? Having an authentic voice will stop their writing become a diatribe or worse – a gushing, pantomime voice of the supposed advertiser.
The formality of the piece can sometimes cause confusion. Students used to crafting formal academic essays sometimes find that transition to a more personal, conceptualised piece of writing really tough. Of course it depends on the brief but generally, my advice would be to get students to write looser. Not with lazy grammar nor bland vocabulary. Any informality must be a confident, active style choice. We don’t know what will come up in future exam papers, but so far on this new course, nobody has asked for a formal essay.
On the subject of weary vocabulary, I have noticed that some students, in the panic of the timed exam, can slip into cliché. I think they sometimes actually feel they are using it ironically. But an ironic cliché remains a cliché – so is best avoided. A tip from me is to establish a cliché corner notice-board. I have one in my classroom on which any gem I receive from a student gets plastered up on the wall. Some girls see it as a badge of honour to make it onto the board (irony once again being the language of the teen) – but I know they have their cliché radar on full as they enter the exam and that’s all that matters.

Sharon Stead is a former journalist and Communications Manager. She is now Head of English at Surbiton High School and Network Leader for English for United Learning.

This article first appeared in Ink Pellet Magazine – Spring 2015
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