Providing Hints for Better Learning
Working through questions
and answers
How can we provide hints to each other?
Steps after reading the passage:
Steps after reading the passage:
1.
Read the question—do you know the
Read the question—do you know the
answer?
answer?
2.
Check out the hint/return to the
Check out the hint/return to the
passage.
passage.
Try your answer again; do you
Try your answer again; do you
still think you selected the correct
still think you selected the correct
option? Revise if you need to.
option? Revise if you need to.
3.
Check your answer.
Check your answer.
STEP 1: Read the question. Do you know the answer?
STEP 2: Check for hints; does your answer still make sense
?
HINT: Think about how the landscape houses and roads are
described; they are linked. Then, since the question asks
about
CONTRASTS
, how are the Players’ homes and cares
different from those?
Did you record
Did you record
your answer?
your answer?
Now go to the
Now go to the
next slide to
next slide to
check it.
check it.
STEP 3: Check your answer.
No---those words mean the same; prompt asks for contrasts
No---size is never indicated
No---they may seem grand, but the passage does not mention any hint of
whether people appreciate one over the other
Yes! The houses/cars are new, “shiny” and “misplaced” amidst the old town
Try the questions 2, 3, and 4:
•
Try to choose an answer
•
Look at hints and revise
answer if needed
•
Check answer/look at
explanations
HINT: Think about the kind of
laughing they do; why does it
matter they “agree” with each
other?
Did you record
Did you record
your answer?
your answer?
Now go to the
Now go to the
next slide to
next slide to
check it.
check it.
A.
Yes! They try to break the tension and reassure each other, even though they know
they are in trouble, which the start of the next sentence (9) indicates. Additionally,
look at the parts in red; things aren’t going well.
B.
The director isn’t mentioned; this is about how the actors treat each other.
C.
No “outside observers” are mentioned.
D.
There is NOT plenty of time so the laughter and agreement aren’t realistic.
(10): Long after the time had come for
what the director called “really getting
this thing off the ground: really making it
happen, it remained a
static,
shapeless
,
inhumanly heavy weight
; time and time
again they read the
promise of failure
in
each other’s eyes, in the
apologetic
nods
and smiles of their parting and the
spastic haste with which they broke for
their cars
and drove home to whatever
older, less explicit promises of failure
might lie in wait for them there.
HINT: Look at that diction (word choice) in the sentence
noted. What is this rehearsal like? How do the people
leave?
Did you record
Did you record
your answer?
your answer?
Now go to the
Now go to the
next slide to
next slide to
check it.
check it.
(10): Long after the time had come for what the
director called “really getting this thing off the ground:
really making it happen, it remained a
static,
shapeless
,
inhumanly heavy weight
; time and time
again they read the
promise of failure
in each other’s
eyes, in the
apologetic
nods and smiles of their parting
and the
spastic haste with which they broke for their
cars
and drove home to whatever older, less explicit
promises of failure might lie in wait for them there.
A.
no—word choice indicates frustration at their situation, not resentment at the director
B.
No-it’s not there is reluctance; there is frustration
C.
There is self-awareness that they themselves aren’t being successful
D.
Yes! That diction (word choice) speaks of a problematic production with little hope of
success
HINT: How does this evening of the performance
compare/contrast to the previous rehearsal?
Did you record
Did you record
your answer?
your answer?
Now go to the
Now go to the
next slide to
next slide to
check it.
check it.
A.
no—we don’t know what time of day it was during rehearsal
B.
No-the passage hints that “doubling” and “redoubling” rehearsals didn’t seem to matter.
C.
The director is never mentioned.
D.
Yes! Look at the differences: “UNFAMILIAR FEEL,” and “FIRST WARM EVENING” and
“FORGOT TO BE AFRAID”
Learn how to effectively provide hints to aid in answering questions and understanding passages. Follow steps to read the questions, check for hints, and verify answers. Utilize images and prompts for guidance in improving comprehension and critical thinking skills.
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Presentation Transcript
Working through questions and answers How can we provide hints to each other?
Steps after reading the passage: 1. Read the question do you know the answer? 2. Check out the hint/return to the passage. Try your answer again; do you still think you selected the correct option? Revise if you need to. 3. Check your answer.
STEP 2: Check for hints; does your answer still make sense? HINT: Think about how the landscape houses and roads are described; they are linked. Then, since the question asks about CONTRASTS, how are the Players homes and cares different from those?
Did you record your answer? Now go to the next slide to check it.
STEP 3: Check your answer. No---those words mean the same; prompt asks for contrasts Yes! The houses/cars are new, shiny and misplaced amidst the old town No---size is never indicated No---they may seem grand, but the passage does not mention any hint of whether people appreciate one over the other
Try the questions 2, 3, and 4: Try to choose an answer Look at hints and revise answer if needed Check answer/look at explanations
HINT: Think about the kind of laughing they do; why does it matter they agree with each other?
Did you record your answer? Now go to the next slide to check it.
A. Yes! They try to break the tension and reassure each other, even though they know they are in trouble, which the start of the next sentence (9) indicates. Additionally, look at the parts in red; things aren t going well. B. The director isn t mentioned; this is about how the actors treat each other. C. No outside observers are mentioned. D. There is NOT plenty of time so the laughter and agreement aren t realistic.
(10): Long after the time had come for what the director called really getting this thing off the ground: really making it happen, it remained a static,shapeless, inhumanly heavy weight; time and time again they read the promise of failure in each other s eyes, in the apologetic nods and smiles of their parting and the spastic haste with which they broke for their cars and drove home to whatever older, less explicit promises of failure might lie in wait for them there. HINT: Look at that diction (word choice) in the sentence noted. What is this rehearsal like? How do the people leave?
Did you record your answer? Now go to the next slide to check it.
(10): Long after the time had come for what the director called really getting this thing off the ground: really making it happen, it remained a static, shapeless, inhumanly heavy weight; time and time again they read the promise of failure in each other s eyes, in the apologetic nods and smiles of their parting and the spastic haste with which they broke for their cars and drove home to whatever older, less explicit promises of failure might lie in wait for them there. A. no word choice indicates frustration at their situation, not resentment at the director B. No-it s not there is reluctance; there is frustration C. There is self-awareness that they themselves aren t being successful D. Yes! That diction (word choice) speaks of a problematic production with little hope of success
HINT: How does this evening of the performance compare/contrast to the previous rehearsal?
Did you record your answer? Now go to the next slide to check it.
A. nowe dont know what time of day it was during rehearsal B. No-the passage hints that doubling and redoubling rehearsals didn t seem to matter. C. The director is never mentioned. D. Yes! Look at the differences: UNFAMILIAR FEEL, and FIRST WARM EVENING and FORGOT TO BE AFRAID
