Story Transcript
Material # 6 Grammar: The Conditional Perfect and the Future Perfect tenses Content: Dutch and Flemish Paintings of the seventeenth century Location: Yale University Art Gallery
This document includes:
Ian Althouse
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Brief narrative describing the class and objectives
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Handout with instructions given to students (pg. 2)
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Annotated lesson plan – I shared this document with the Spanish instructors on my team. Green clarifies what I did particularly in my class, where there may be doubt. Red highlights my reflections on the class, and how to make it successful (pg. 3-‐4)
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Student feedback compiled from handwritten surveys -‐-‐ similar comments have been tallied and marked in roman numerals (pg. 5-‐6)
Objectives: 1. Students will review the Conditional Perfect and Future Perfect forms and practice using them in the context of the art gallery. 2. Students will engage their vocabulary for describing art (Ch. 10) using Dutch and Flemish paintings of still lifes and scenes of the home 3. They will use visual thinking strategies to elaborate their vision of the paintings. 4. They will hypothesize a backstory for a work of their choosing, using the future perfect tense. 5. They will reflect on their own actions in those situations using the conditional perfect tense. 6. Students will make mini-‐presentations of their art, hypothesizing prior actions with the Future Perfect and explaining what the would do in that situation using the Conditional Perfect.
Description of class:
Students receive a handout that briefly reviews the different uses of Conditional Perfect and Future Perfect tenses, introduced the previous day in class. I lead students in a close observation of a still life, modeling the line of questioning that is on their handout (see page 2). In pairs they select another work and conduct their own close observation with guidance from the instructor. They present a 2-‐3 minute presentation of their observations and interpretations, with evidence, to the class. Class length: 50 minutes Level: Intermediate Spanish II
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Student Handout
(Primera mitad de la clase) El futuro perfecto (ej: ¿Qué habrá pasado? ¿Adónde habrá ido, Manuel? Habrá parado en la panadería antes volver a casa) Indica una pregunta retórica de una acción pasada. Connota una hipótesis o una conjetura sobre una acción pasada. El condicional perfecto (ej: Yo habría comido el pavo entero si hubiera sido una opción. / En su lugar, también habría pintado un retrato de esa mujer bella) Indica una acción pasada e hipotética y connota la intención o el deseo de haber cumplido esa acción. No es una conjetura sino una acción intencionada, exitosa o sin éxito. (Segunda mitad de la clase) Ejercicio creativo en la galería de arte: 1. Elegid un cuadro en parejas 2. Tomad 5 minutos para observar el cuadro, compartid observaciones de lo que veis (¡No interpretéis! Es importante construir una base de observaciones concretas y el vocabulario necesario para vuestras observaciones) 3. Tomad 5 minutos para compartir interpretaciones y observaciones abstractas. No os olvidéis de apoyar vuestras interpretaciones con detalles concretos (es decir, contestad la pregunta: ¿Qué ves que te hace decir eso?) 4. ¿Qué habrá pasado? -‐ Inventad en parejas una historia. Después de elaborar la historia del cuadro, discutid ¿habrías hecho lo mismo? (Poneos en el lugar de los personajes del cuadro y de vuestra historia)
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Lesson Plan
Yale University Art Gallery Visit 19/2/15 Spanish 140 Room: Dutch and Flemish paintings Material covered: 1. Art vocabulary – Ch. 10 2. Future perfect tense 3. Conditional perfect tense 4. Detailed observation of a still life (VTS practice) a. Willem Claesz. Still Life with Glasses and Tobacco, 1633 – Accession Number: TR2014.15826.16; http://artgallery.yale.edu/collections/objects/190577 b. Pieter Claesz. Breakfast Still Life with a Ham and a Basket of Cheese, ca. 1627 – Accession Number: TR2014.15826.13; http://artgallery.yale.edu/collections/objects/190574 c. Pieter Claesz. Breakfast Still Life with a Roemer, a Brazier, a Clay Pipe, Herring, Bread, and a Deck of Cards, 1638 – Accession Number: TR2014.15826.1; http://artgallery.yale.edu/collections/objects/191802 5. Various paintings from the room a. Jan Brueghel the Elder. Village Scene with a Canal, 1609 – Accession number: TR2014.15826.11; http://artgallery.yale.edu/collections/objects/190572 b. Nicolaes Maes. Sleeping Man Having His Pockets Picked, ca. 1655 – Accession Number: TR2014.15826.19; http://artgallery.yale.edu/collections/objects/190580 c. Gabriël Metsu. Old Woman Eating Porridge, ca. 1657 – Accession Number: TR2014.15826.20; http://artgallery.yale.edu/collections/objects/190581 d. Frans Van Mieris the Elder. The Old Violinist, 1660 – Accession Number: TR2014.15826.21; http://artgallery.yale.edu/collections/objects/190582 e. Adriaen van Ostade. Peasant Family in a Cottage Interior, 1661 – Accession Number: TR2014.15826.22; http://artgallery.yale.edu/collections/objects/190583 f. Jan Steen. The Card Players/Elegant Company with Card Players, ca. 1660 – Accession Number: TR2014.15826.29; http://artgallery.yale.edu/collections/objects/193397 g. Emmanuel de Witte. Interior of the Oude Kerk, Amsterdam, ca. 1660-‐65 – Accession Number: TR2014.15826.26; http://artgallery.yale.edu/collections/objects/190587 6. Extra vocabulary Objectives: 1. Students will engage their vocabulary for describing art (Ch. 10) using Dutch and Flemish paintings of still lifes and scenes of the home. 2. They will use visual thinking strategies to elaborate their vision of the paintings. 3. They will hypothesize a backstory for their work using the future perfect tense. 3
4. They will reflect on their own actions in those situations using the conditional perfect tense. In gallery: -‐-‐ STICK TO TIME LIMITS – This was really important, it allowed us to finish all parts of the lesson plan. Additionally, it was helpful to ask students to arrive at 9:20 and be early, stressing the importance of early arrival, because we were in the gallery much more quickly. Only one student arrived at 9:25 and other students had been sent in to drop off bags ahead of her. This made it easier for us to get out of the lobby and into the gallery on time. Don’t wait for everyone to be there to head into the lobby. 1. (9:35/ 9:30) – Naturaleza muerta – Tomemos unos minutos para estudiar esta naturaleza muerta. I used Willem Claesz’s Still Life with Glasses and Tobacco (still life A above) a. ¿Qué veis? b. ¿Qué ves que te hace decir eso? c. ¿Qué más veis?
d. Distribuir la hoja con el ejercicio de la clase (9:40/9:35) i. Students read definitions of the tenses and their uses as a refresher – clarify distinction
e. ¿Qué habrá pasado? f. ¿Habríais hecho lo mismo? 2. (9:45/ 9:40) – Ejercicio creativo – on separate sheet. – Students worked really well on this. The began to struggle with part 5 when they were on their own especially because some paintings didn’t lend themselves to alternative actions (like the church painting). Prompting students is necessary as they begin to get into their analysis AND AGAIN after they finish presenting to get other students answering ¿Qué habrías hecho en esta situación? 1. Elegid un cuadro en parejas 2. Tomad 5 minutos para observar el cuadro, compartid observaciones de lo que veis (¡No interpretéis! Es importante construir una base de observaciones concretas y el vocabulario necesario para vuestras observaciones) 3. (9:50) – Tomad 5 minutos para compartir interpretaciones y observaciones abstractas. No os olvidéis de apoyar vuestras interpretaciones con detalles concretos (es decir, contestad la pregunta: ¿Qué ves que te hace decir eso?) 4. (9:55) – ¿Qué habrá pasado? -‐ Inventad en parejas una historia. 5. Después de elaborar la historia del cuadro, discutid ¿habrías hecho lo mismo? (Poneos en el lugar de los personajes del cuadro y de vuestra historia) – Reserve this step for the quicker advancing groups. For time reasons, students shouldn’t really have time to do this part. They struggle with it and it’s better left for group conversation and interpretation. 3. (10:00/ 9:55) – Students present their chosen paintings and asking students ¿Qué habríais hecho? – This was tight with 6 groups presenting. They really could use more time. Start presentations at 9:50, even if they aren’t fully finished preparing, they will be speaking off the cuff in the presentations anyway. 4. (10:12) – HEAD BACK TO LOBBY
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Student Feedback
Average rating on scale of 1(poor)-‐5(excellent): 4.5 Likes: • Experiencing the art up close (hands on) -‐ VI1 • Change in setting -‐ IV • Real life experience/usage of Spanish (applying it to the real world, “We had to talk about things that Spanish-‐speaking people actually talk about when they go to the museum”) -‐ IV • Mini presentations were useful because we heard input from our peers; groups of two in particular helped push everyone to participate and voice an opinion (“focused on improving my speaking”; “I liked hearing other students present about the paintings they had studied.”) -‐ IV • Enjoyed practicing grammar structures through art -‐ II • I liked seeing a new section of the art gallery, one I hadn’t seen on my own before -‐ II • Vocabulary lent itself well to these presentations/discussions -‐ II • I liked that we started with paintings without people, it allowed us to focus more on the actual painting (objects, light, shadow, etc.) and discouraged speculation about a subject’s thoughts, actions, history, etc. (“I enjoyed the interesting still lifes”) -‐ II • Enjoyed standing (vs. sitting which is easy to do in a classroom) • I liked discussing something other than the usual class subjects • I liked the ability to pick a painting and not have to all stand around one painting • Really enjoyed splitting into groups and presenting the painting to the class. It was cool to feel like you knew a painting and could share it with the class as a knowledgeable source. Also good to get practice presenting. Other: • I liked a lot that the trip seemed more realistic. It would be nice if we could do another that didn’t have to do with art so we could experience different types of real-‐life conversations. • It was awesome thanks for taking us! • I really enjoyed the trip to the art gallery. • It was well organized and a lot of fun for people who are interested in the arts. • It went by really fast! I’d really like to go again because the cultural aspect of this class is the most interesting. • I loved getting out of the classroom and would enjoy doing more of it in other contexts. Dislikes/Changes: • Spend more time on presentations and a bit less on presentation prep (too much prep time) (more time discussing as a group the works presented by others, perhaps) -‐ XI • Would like to look at more than one painting (perhaps compare two) – VI • Would have liked to look at Spanish paintings and sculptures -‐ II • Perhaps we could do two classes to have more time with the art work? 1 Roman numeral indicates number of students that shared a given comment or sentiment. 5
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Expanding it to more rooms and types of art would be an improvement from seeing only one small room (I should have made my selection of this room and its pedagogical purpose more clear to this student) Possibly a wider variety of scenes (though this was a good amount for this trip) It would have been cool to see other forms of art (sculpture, artifacts, etc.) to practice our vocab. Perhaps less time on initial piece of artwork Even though I want to spend as much time as possible in the gallery, I wished we could have ended on time with enough time to get our things from our lockers before 10:15 because I have a class right after this one. Didn’t like that it was the day before an exam. Perhaps arrive 5 minutes early to make sure we’re in the gallery space at 9:25 (to have more time) I would like to learn something more concrete about the artwork and not just give my own conjectures about it. I think that would be a nice balance.
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