2. Learning Objectives:
•To be able to identify the attributes of a good learner.
•To be able to reflect on what you need to do to improve your
ability to learn more effectively.
We are learning this because:
•Knowing the attributes of a great learner will help us become
even better at our learning
We will know if we have been successful if:
•We can describe the attributes, skills and behaviours that
effective learners display.
•We can identify what we need to do to become better
learners.
3. • Is intelligence fixed or can people get
better at learning? Or do they just learn
more facts and knowledge?
• What is the single most important attribute
of an intelligent person?
….. Three minutes discussion in pairs
4. Before we reflect on what makes a good learner we are
going to teach and be taught!! Choose one of the following
and then you will spend 5 minutes teaching it to someone
else….or the rest of the class.
• How to whistle •How to do long division
• Changing the wheel of a •How to ride a bicycle
car •How to text
• How to …….. (free •How to wire a plug
choice card) •Making beans on toast
• How to find a website •The rules of sim city
you want
• The safest way to get on •How to get to my house from
a horse school
• How to tell the time
• My family tree
• The rules of monopoly
5. Teaching activity follow up questions
• Did the ‘teacher’ do anything that helped you to learn
more effectively?
• What were the two most difficult things about teaching
someone else? How did you overcome them?
6. Plenary and feedback
• Which attribute do you put at the top of the list and why?
• Which attribute do you put at the bottom of the list and why?
• Did you come up with alternative statements that you felt
were important?
• Why is it important to reflect on what makes a good learner?
Notas do Editor
The 'Fighting Temeraire' tugged to her Last Berth to be broken up 1838-39 Oil on canvas, 91 x 122 cm National Gallery, London TURNER, Joseph Mallord William (b. 1775, London, d. 1851, Chelsea) While the Suffolk-born Constable wished to become a natural painter, Turner, son of a modest barber in Covent Garden, yearned for sublimity. Trained as a topographical draughtsman, he achieved his ambition through mastering the idioms of Claude and of the grander Dutch seventeenth-century marine and landscape painters as well as the melodramatic effects of the scene designer Jacques Philippe de Loutherbourg. Now nearly forgotten, this Alsatian-born member of the French Academy delighted the London public, and influenced artists from Gainsborough to Turner and Joseph Wright of Derby, by staging panoramic peepshows in which painted landscapes, theatrical lighting and sound were combined to simulate natural phenomena and tragic catastrophes. In search of the Sublime, Turner travelled widely, sketching grandiose scenery and extreme weather conditions, which he translated into canvases exhibited with poetic quotations. He considered Dido building Carthage, or the Rise of the Carthaginian Empire (1815) his masterpiece, bequeathing it together with the Sun rising through Vapour to the National Gallery on condition that they be hung beside Claude's Seaport with the Embarkation of the Queen of Sheba and Landscape with the Marriage of Isaac and Rebekah. (This bequest is now honoured.) Turner's emulation of Baroque painting, however, did not exclude modern references, rather transmuting them into 'high' art. In this way he competed with both historic and contemporary masters. The 'Fighting Temeraire' was exhibited at the Royal Academy in 1839 with a quotation from Thomas Campbell's poem Ye Manners of England: The flag which braved the battle and the breeze/No longer owns her'. The Temeraire had distinguished herself at the Battle of Trafalgar in 1805, but by the 1830s the veteran warships of the Napoleonic wars were being replaced by steamships. Turner, on an excursion on the Thames, encountered the old ship, sold out of the service, being towed from Sheerness to Rotherhithe to be scrapped. In his painting topography and shipbuilding alike are manipulated to symbolic and pictorial ends. Turner conceives the scene as a modern Claude: a ghostly Temeraire and the squat black tug, belching fire and soot, against a lurid sunset. His technique is very different from Claude's, as thick impastoed rays and reflections contrast with thinly painted areas, and colours swoop abruptly from light to dark. A heroic and graceful age is passing, a petty age of steam and money bustles to hasten its demise. The dying sun signals the end of the one, a pale reflecting moon the rise of the other. But just as Claude's sunrises and sunsets enlist the viewer's own sense of journey, so does the last berth of the 'Fighting Temeraire' recall the breaking up of every human life
