SUPPLEMENTAL PAGES

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

THE READING PROCESS

The following description of the reading process is based on research conducted in the last two decades÷research that shows the inter-relatedness and not the separateness of writing and reading. Just as there are stages through which all writers pass to one degree or another, there are stages through which all readers pass. As with the writing process, the stages of the reading process are recursive, not linear.

What is reading?

Reading is comprehension, a dynamic and interactive process of constructing meaning by combining the reader's existing knowledge with the text information within the context of the reading situation. The key elements are reader, text, and context.

What is the reading process?

Reading is a process of communication between the writer and the reader. The words the author writes convey meaning, but only because the meaning is already somewhere in the reader's mind. The words tap the reader's previous knowledge, and he/she forms new ideas by using the old knowledge as a framework on which to weave the new ideas. The more the reader knows, the easier the text is to read. There are several steps in the reading process:

Pre-reading		This step involves an interaction between the reader and the text. The reader looks for clues in the text in order to know what prior knowledge to activate. The first two steps of SQ3R (a popular study-skills reading strategy: Survey-Question-Read-Recite-Review) speak to this interaction. During the survey step, the reader skims the material in search of titles, sub-titles, bold-faced words, pictures, graphs, tables, maps, etc. These clues to meaning help the reader to formulate questions: What do I know about this subject or any topic that relates to the subject? What have I read or what have I experienced that relates to this subject? Once the reader activates his/her background knowledge, he/she needs to set a purpose for reading. The purpose for reading suggests appropriate reading pace, the type of note-taking needed, the reading environment best suited to the reading task, etc.
Reading		At this stage the reader reads the text. Depending upon the purpose for reading, the reader may skim, scan, read rapidly, or read intensively (analytical and study-type reading). If the reader is reading for a general impression or to select reading material, he/she may skim many books, magazines, etc. until something appropriate is found. If the reader is looking for an isolated fact, e.g., a telephone number or a date, he/she will scan the text looking for that fact. When it is found, the reader stops reading. If the reader needs only a surface-level understanding of a text, e.g., looking for the main idea of a passage or becoming sensitive to an author's attitude, he/she may read the material rapidly. Only when the reader needs to retain information or be able to discuss it in depth will he/she read intensively. Analytical/critical reading is a type of intensive reading and occurs whenever the reader needs to analyze text for some oral or written purpose. Note-taking often accompanies intensive reading.
Revising		During this stage the reader evaluates and reworks the text. The reader looks at the questions he/she asked prior to reading and asks, Did I discover what I thought I would discover? What preconceptions did I have that need to be changed? What did I learn from the text? In general, the reader moves from the literal level of comprehension (What does the text say?) to the interpretive level (What does the text mean?)
Post-reading		Once the reader has read the text and has revised his/her conceptions, he/she needs to employ strategies for retaining the information. Different readers employ different strategies: summarizing, précis writing, outlining, mapping, listing, high-lighting text, etc. In some cases the reader elects to read the text a second or even a third time. Strategies are often combined for a heightened effect.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

CENSORSHIP

What is censorship?

In terms of public education, censorship is the act of removing objectionable matter from libraries and classrooms.

What is the S.A.D. #4 position regarding censorship?

The NCTE (1989) published the following statement:

Literary study offers [students] insights into human values expressed in times and places far removed from their own and helps them interpret experiences within their immediate worlds. They should be invited to read deeply in our diverse literary traditions, including writing by men and women of many racial, ethnic, and cultural groups. Literature makes real the cultures we inherit, as well as those of people different from us; it raises fundamental questions of value. Because literature by its very nature presents various views of reality and truth, some people or groups will inevitably try to mandate reading lists to "fit" some particular political or social agenda. The obligation of the English language-arts teacher is to represent a range of readings sufficient to exhibit multiple human possibilities and to demonstrate a broad sweep of American cultures as they are embodied in literary texts. Balancing the total reading list in relation to students' needs and experiences requires professional judgment about particular classes and even about particular students.·As a rule, texts should be presented in their complete form.

This statement, together with other NCTE publications promoting a student's right to read, reinforces the belief that students need to be surrounded with all kinds of books and that students need to be allowed to make choices about what they read. The S.A.D. #4 reading curriculum encourages students to self-select books for recreational reading; but, when it is necessary for a particular text to be read by an entire group of students in order to facilitate whole-group instruction and discussion, censorship may become an issue. Ideally, no student would be denied the right to read any book which the language-arts teacher believes will foster a developmental, functional, or recreational purpose; however, language-arts teachers recognize that there are reasons why parents might request that their child be excused from reading a particular text.

Why censor?

Printed, visual, and audio media reflect political and social climates. Certain reflections are deemed "objectionable" by some groups and individuals. The following elements are most commonly cited as reasons for censorship:

á Profanity

á Inappropriate or excessive violence

á Implicit or explicit sexual references

á Unacceptable moral teachings

What can parents do to protect their child?

Parents who object to their child reading a particular work assigned by a classroom teacher should follow the procedure below:

á Read portions of the assigned work to be certain that the work is truly objectionable.

á Discuss objections with the child. Students are sensitive and can be easily embarrassed when they are excluded from discussions involving them.

á Call the classroom teacher or make an appointment to discuss objections.

á Consider the learning objectives involved with the assigned reading.

á Work with the teacher to select alternative reading and a method for monitoring and evaluating that reading.

á Complete the REQUEST FOR ALTERNATIVE READING form provided by the teacher.

á Contact the building principal if parent-teacher dialogue does not resolve parental concerns.

What the classroom teacher should do when a parent requests alternative reading for a child?

The teacher should follow the procedure below:

á Fully explain the appropriateness of the assigned work. Be prepared to share the learning objectives of the assignment with the parent.

á Cooperate by suggesting alternative reading and a method of monitoring and evaluating that reading.

á File a written statement of the objection to the assigned work and the plan for alternative reading.

á Provide the parent(s) with a copy of the request and file a copy with the building principal or the department head. Keep a personal copy, as well.

á Work with the student in a manner that will not embarrass or isolate him/her.

What about videos shown in the classroom?

From time to time, the classroom teacher will elect to show a video version of a book in conjunction with the students' study of a particular author, book, or literary period. If the video is rated G or PG, the teacher will not be required to inform parents prior to the use of the video. If the video is rated PG-13 (elementary and middle school only) or R, however, a parental permission slip should be sent home. Only students who submit a signed permission slip indicating parental permission to view should be allowed to view the video. All other students should be given an alternative assignment and supervised elsewhere in the school building.

REQUEST FOR ALTERNATIVE READING

For the parent:

After having read portions of the assigned work and having discussed my objections to the work with my child and his/her classroom teacher, I prefer that my child not be required to read _________________________________ for the following reason(s):

___ Profanity

___ Inappropriate or excessive violence

___ Implicit or explicit sexual references

___ Unacceptable moral teachings

___ Other (please specify)

For the teacher:

After having discussed __________________________________ with the parent(s) of ___________________________________, I have agreed to allow him/her to read __________________________________ in lieu of the assigned work. This student will be tested separately at the time other students are tested over the assigned work. Special arrangements for monitoring and evaluating the reading (if applicable) are detailed below:

PARENTAL PERMISSION TO VIEW SLIP

On ___/___/___, Period ___, your child's class will be viewing the video version of _________________________________________ in conjunction with a study of _________________________________________. This video is rated ____. Please indicate whether you want your child to view the video and sign the form. Any student who fails to return the form will be automatically excluded from the viewing, provided an alternative assignment, and supervised elsewhere in the school building.

___ My child has permission to view the video.

___ My child does not have permission to view the video.

____________________________________ ___/___/___

Parent's signature Date

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

READ-ALOUD PROGRAM

Students of all ages and abilities appreciate being read to from time to time. Not only does being read to help students to relax and prepare mentally for whatever lesson is planned for a particular period, but being read to provides students with good models of reading for pleasure. Students who are read to regularly gain a broader, more varied background in literature and gain cultural experiences vicariously.

The total English language-arts program is time-intensive for both students and teachers. There are many learning objectives to master and limited time to master them. In spite of this limitation, however, teachers are expected to read to students daily in Grades K-6 and as often as time permits in Grades 7-12. They are also encouraged to coordinate that reading with whatever is being studied at the time, e.g., when students are studying ancient Greek and Roman literature, the teacher may want to read myths and fables; when students are studying figurative language, the teacher may want to read poems that utilize that language; etc. Teachers are advised to pre-read any text which they intend to read aloud. Pre-reading will allow teachers to determine how much time and the kind of expression the text will require.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

APPROVED BOOK LIST FOR WHOLE-GROUP INSTRUCTION

Grade 5

á ON MY HONOR, Bauer

á THE 18^TH EMERGENCY, Byars

á THE PINBALLS, Byars

á TROUBLE RIVER, Byars

á THE TV KID, Byars

á THE BIG WAVE, Buck

á MISHMASH, Cone

á THIS SUMMER, Crabtree

á CHARLIE AND THE CHOCOLATE FACTORY, Dahl

á THE CELERY STALKS AT MIDNIGHT, Howe

á SOUP, Peck

á LUCKY'S LIE, Ross

á THAT LONESOME PRAIRIE, Sisson

á BETSY ROSS, Weil

á YOUNG REBEL, Wood

á RIVER OF MYSTERY, Zucker

Grade 6

á CADDIE WOODLAWN, Brinkman

á MY SIDE OF THE MOUNTAIN, George

á ISLAND OF THE BLUE DOLPHINS, O'Dell

á HATCHET, Paulsen

á SIGN OF THE BEAVER, Speare

á CALL IT COURAGE, Sperry

á THE CAY, Taylor

Grade 7

THE BLACK CAULDRON, Alexander

NATIONAL VELVET, Bagnold

THE NIGHT SKIERS, Bastien

SQUASHED, Bauer

HITTY: HER FIRST HUNDRED YEARS, Field

OLD YELLER, Gipson

SUMMER OF DOLPHINS, Hesse

THE BRAVE, Lipsyte

WHITE FANG, London

SNOW TREASURE, McSwigan

LITTLE BRITCHES, Moody

FEAR PLACE, Naylor

MY FRIEND FLICKA, O'Hara

THE YEARLING, Rawlings

WHERE THE RED FERN GROWS, Rawls

THERE'S A GIRL IN MY HAMMERLOCK, Spinelli

THE HOBBIT, Tolkien

Grade 8

á SOUNDER, Armstrong

á WINNING, Brancato

á DARK IS RISING, Cooper

á HEROES, GODS, AND MONSTERS OF THE GREEK MYTHS, Evslin

á SUMMER OF MY GERMAN SOLDIER, Greene

á THE OLD MAN AND THE SEA, Hemingway

á PHOENIX RISING, Hesse

á RUMBLE FISH, Hinton

á THAT WAS THEN, THIS IS NOW, Hinton

á BABY, MacLachlan

á NEVER CRY WOLF, Mowatt

á A DAY NO PIGS WOULD DIE, Peck

á UPSTAIRS ROOM, Reiss

á SHANE, Schaffer

á THE PEARL, Steinbeck

á ROLL OF THUNDER, HEAR MY CRY, Taylor

á HOMECOMING, Voight

á THE PIGMAN, Zindel

Grade 9

á LILIES OF THE FIELD, Barrett

á SOMETHING WICKED THIS WAY COMES, Bradbury

á TO SIR, WITH LOVE, Braithwaite

á TARZAN, Burroughs

á THE TROJAN WAR, Coolidge

á GHANDI, Fischer

á THE ADVENTURES OF TOM SAWYER, Twain

á A TIME MACHINE, Wells

á CONFESSIONS OF A TEENAGE BABOON, Zindel

Grade 10

á THE CHOCOLATE WAR, Cormier

á THE RED BADGE OF COURAGE, Crane

á KILLING MR. GRIFFIN, Duncan

á APRIL MORNING, Fast

á THE SCARLET LETTER, Hawthorne

á ACROSS FIVE APRILS, Hunt

á LEGEND OF SLEEPY HOLLOW AND OTHER STORIES, Irving

á FLOWERS FOR ALGERNON, Keyes

á A SEPARATE PEACE, Knowles

á TO KILL A MOCKINGBIRD, Lee

á EVANGELINE, Longfellow

á MOBY DICK, Melville

á OF MICE AND MEN, Steinbeck

á ADVENTURES OF HUCKLEBERRY FINN, Twain

á ETHAN FROME, Wharton

á PARDON ME, YOU'RE STEPPING ON MY EYEBALL, Zindel

Grade 11

á WUTHERING HEIGHTS, Bronte

á BULFINCH'S MYTHOLOGY, Bulfinch

á PILGRIM'S PROGRESS, Bunyan

á CANTERBURY TALES, Chaucer

á HARD TIMES, Dickens

á A TALE OF TWO CITIES, Dickens

á SILAS MARNER, Eliot

á LORD OF THE FLIES, Golding

á ROBIN HOOD, Green

á MAYOR OF CASTERBRIDGE, Hardy

á ANIMAL FARM, Orwell

á IVANHOE, Scott

á MACBETH, Shakespeare

á MERCHANT OF VENICE, Shakespeare

á MIDSUMMER'S NIGHT DREAM, Shakespeare

á GULLIVER'S TRAVELS, Swift

á ONCE AND FUTURE KING, White

á PICTURE OF DORIAN GRAY, Wilde

Grade 12

á FAHRENHEIT 451, Bradbury

á CRIME AND PUNISHMENT, Dostoevesky

á ORDINARY PEOPLE, Guest

á DEATH BE NOT PROUD, Gunther

á THE ODYSSEY, Homer

á THE HUNCHBACK OF NOTRE DAME, Hugo

á BRAVE NEW WORLD, Huxley

á FOUR GREAT PLAYS BY IBSEN, Ibsen

á ONE FLEW OVER THE CUCKOO'S NEST, Kesey

á BILLY BUDD AND OTHER STORIES, Melville

á DEATH OF A SALESMAN, Miller

á 1984, Orwell

á CYRANO DE BERGERAC, Rostand

á HAMLET, Shakespeare

á KING LEAR, Shakespeare

á OTHELLO, Shakespeare

á OEDIPUS TRILOGY, Sophocles

á GRAPES OF WRATH, Steinbeck

á UNCLE TOM'S CABIN, Stowe

á 20,000 LEAGUES UNDER THE SEA, Verne

á ALL THE KING'S MEN, Warren

NOTE: Teachers should check their supply of books before developing lesson plans. There may not be classroom quantities of some titles, especially those listed for Grades 5-8.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

SQ3R: A STUDY METHOD THAT WORKS

One of the most common assignments given in high school is to read a chapter or more in an assigned textbook. Many students flounder because they lack an efficient system for accomplishing this task. In his book EFFECTIVE STUDY, Francis P. Robinson presented a system for studying which was billed as "efficient" and which promised to make long-term memory more probable. This system is now fifty years old, but it is still promoted by research studies as "a system that works." It is presented here in abbreviated form. For additional information about the system, see A GUIDEBOOK FOR TEACHING STUDY SKILLS AND MOTIVATION (1982), edited by Bernice Bragstad and Sharyn Strumpf.

Survey		Search for clues to the organization of the information in a chapter. Detailed information can be remembered only if it is learned in relationship to more important ideas. á Think about the title. What do you already know about the subject? What do you anticipate learning in a chapter with this title? á Read the first paragraph. Look for the author's plan of organization. The introduction may state the topics included, as well as the author's purpose for writing. á Read the sub-titles. These are the main concepts or topics developed by the author. How many sub-divisions are there? á Check illustrations. What ideas are clarified by charts, graphs, maps, or tables? á Read the last paragraph and/or the summary. Here you may find a review of the main concepts or final conclusions.
Question		Questions create curiosity, give purpose to your search, and make important ideas more visible. á Ask What do I already know about this topic? What have I read or what have I experienced that relates to this topic? What am I expected to learn from reading this text? What do I want to learn from reading it? á Turn main headings and sub-titles into questions. á Jot down questions that occurred when you surveyed the text á Include questions listed at the end of a chapter.
Read		Now read the first section of the chapter. Look for answers to your questions as you read.
Recite		At the end of each section, look away for a few seconds. Think about what you have read. Recite what you have read in your own words. Hearing yourself paraphrase ideas will help place those ideas in your long-term memory. Check your recall against the book before reading the next section.
Review		After you have read the assignment, section by section÷questioning, reading, and reciting÷you are ready to look at the entire chapter so that you can see all the parts in relationship to one another. The total review is the final step for organizing the information to understand and to remember it. At this point, note-taking is appropriate. These notes will facilitate studying without having to re-read the chapter when the test is announced.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

The KWL Strategy for Understanding What Is Read

The KWL is a three-step strategy (Ogle 1986) which demonstrates the importance of activating background knowledge before reading. According to Michael O'Donnell who cites Ogle in LITERARY PRACTICES AND STRATEGIES IN THE CONTENT AREAS (1996), "Before reading, the teacher accesses background knowledge and helps set purposes for reading; during reading, the reader thinks critically about the content in terms of the pre-reading discussion and monitors processing; and after reading, the reader integrates and consolidates the new information."

Step K

Brainstorming: Determine what students already know about the topic(s) they will be reading about. Record this knowledge on the board. Students may preview the reading material and add to their list of prior knowledge.

Categorizing: Students should examine their list of prior knowledge and identify common attributes of items listed so that they can create categories of information. Doing so will help them organize and store data for reading.

Anticipating: Students should anticipate which categories will appear in the reading and imagine how the text will be written÷students might begin by saying, "If I were to write an article about X, what topics would I include?" (X being the subject matter to be dealt with in the reading). Doing so provides students with a framework for relating information during the actual reading.

Step W

Questioning: Have students generate questions that stem from the brainstorming, categorizing, and anticipating. These questions define their purposes for reading. During the reading, students should pause occasionally to monitor their comprehension by referring to the questions framed during this step and by adding new questions based on the reading to that point.

Step L

Writing To Learn: Students should write what they learned from reading and decide whether the text answered their questions. Discussion should follow naturally from this step of the process.

NOTE: This process works especially well for content-area reading, e.g., reading a chapter about the pilgrims in a social studies book or an article about whales for a science class.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

A GUIDE TO READING LITERATURE FOR PURPOSES OF RETENTION

p Look for clues in the title of the reading selection.

p Does the title provide a clue to who the main character will be?

p Does the title suggest a particular type of story, e.g., mystery, fantasy, science

fiction, romance?

p Does the title suggest a particular mood, e.g., humor, horror, etc.?

p Consider the author of the selection.

p Have you read other works by the author? If so, perhaps you can make predictions about the kind of story this one is.

p Does the nationality of the author suggest anything about the story?

p When did the author live? Does the time period suggest anything about what

may or may not be in the story?

p Study the maps, charts, illustrations, etc. that may accompany the selection.

p Skim the story for main characters.

p Can you decide who the narrator of the story is?

p Do the names of the characters provide clues to what the story may be about?

p Are there more male or female characters?

p Do the characters appear to be young, middle-aged, or old?

p Skim the story for clues to setting.

p Can you tell where the story takes place?

p Can you tell when the story takes place?

p Can you tell the general tone/mood of the story?

p As you read, consider the plot of the story.

p What kind of conflict occurs (man vs. himself? man vs. man? man vs. environment/ society?

p When does the tension in the story seem unusually high?

p How does the main character resolve the conflict?

p As you read, make a list of what appear to be the major events of the story.

p As you read, look for the answers to questions asked earlier.

p Consider theme.

p What message (if any) did the author want readers to take from the story?

p Make predictions about the kinds of questions the teacher will ask on reading check tests, and prepare answers to those questions.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

USING LOGS IN THE LANGUAGE-ARTS CLASSROOM

Students of all ages can and should be encouraged to use writing in logs as a tool for stimulating, clarifying, and sharing ideas. A log can be used as a place to free write, to activate prior knowledge, to write to learn, to respond to literature, to dialogue with a teacher about some topic, etc. Sometimes logs are intended for no particular audience and are not collected or read by the teacher. At other times logs are aimed directly at the teacher; and the teacher is expected to collect, read, and respond to them. Many times logs are collected periodically, and the teacher doing so randomly selects entries to read and respond to. At no time, however, is the log corrected in terms of grammar, usage, or mechanics. A grade may or may not be assigned to log work; but when a grade is assigned, that grade should reflect the extent to which to student fulfilled the purposes of the log, not the extent to which he/she wrote neatly or fluently. When and if the log is read by the teacher and whether or not the teacher responds by writing in the log are generally dictated by the type of log assigned. A discussion of some of the more common logs follows:

Free writing Logs		Free-writing logs are generally left in the classroom and passed to students when a teacher wants them to be used. Students are then expected to write about anything they choose or about some topic being discussed for some designated period of time, e.g., ten minutes. These logs are rarely, if ever, collected or read by the teacher. The only require-ment is that students write for the full time allotted. Students in the early elementary grades may draw pictures and label them as a way of generating ideas. Older students should be encouraged to write in complete sentences.
Learning Logs		Learning logs are frequently used at the end of a class in order to provide students time and opportunity to respond to such questions as What did I learn in class today? What did I enjoy? What didn't I understand? What confused me? What do I want to know more about? What did I dislike? Students should be allowed to express themselves in their own language÷not necessarily for an audience, but for the purposes of clarifying their thinking, of raising questions, and of identifying their problems in understanding. At times a teacher may ask students to respond to a specific question related to a topic being studied. At such times, students expect the teacher to read the responses; but at no time should the teacher react defensively to what has been shared. The teacher can use the log as a tool for collecting quick feedback and can make adjustments in the lesson that benefit students who are struggling to understand some point or who are ready to move on to some new point.
Reader-response Logs		Reader-response logs generally involve two-way communication between students and their teacher. Students are asked to respond to an assigned piece of literature and to ask questions about it. When the teacher collects and reads the responses, he/she answers selected questions, shares his/her own reactions to the assigned reading, and asks questions of his/her own. Students are encouraged to use the log as a place to take notes about the reading, but the primary focus should be on generating meaningful responses, e.g., Can I relate to such-and-such a character? Have I ever had a problem like so-and-so's problem? Did I resolve it the same way? Why or why not? Does anything about this reading make me laugh, cry, frown, etc.? Why? At times, a teacher may want to generate specific questions to which he/she wants students to respond. Length and depth of responses will vary, but both should increase as students move through the grades.

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

LITERATURE EXTENSION ACTIVITIES

Here is a list of activities students can do after reading a story. Teachers at all grade levels are encouraged to add to this list and to share their additions with others.

á Complete story maps

á Conduct an interview of a character

á Construct a mobile about a story

á Create an art project that relates to the story

á Create stick puppets, using tongue depressors or popsicle sticks

á Design a book jacket

á Design a book mark about the story

á Design a postcard, featuring a scene from the story

á Do a choral reading of a story

á Do a reader's theatre

á Draw major events on paper-plate circle stories

á Dress up as a character and tell about that character

á Illustrate favorite parts

á Make a big book

á Make a book vest

á Make a bulletin board about the story

á Make a flip book

á Make a folded book

á Make a mural

á Make a paper-bag book

á Make a pop-up book

á Make a sequence belt

á Make a shape book

á Make a story tower by folding tagboard and illustrating important events

á Make a wind sock and put important events on the streamers

á Make an advertisement poster

á Make paper-bag or paper-plate puppets

á Retell the story using props

á Rewrite a familiar song, using events from the story

á Rewrite the ending of a story or add a new chapter

á Use a Venn diagram to compare two characters or two stories

á Write a commercial to advertise the book

á Write a letter to the author

á Write a rebus story

á Write a script to act out

á Write an alphabet book about the story

á Write letters to and/or from characters

á Write summaries and make mini-books

School Administrative District #4

Unity of purpose

CORE CURRICULUM: SUPPLEMENTAL PAGES

Department: English Language Arts

PREFIXES: Grade 9 Vocabulary Program

a,ab,abs

ambi, amphi

ante, anti

anti

arch

auto

ben

circum

com, con, col, cor, co

contra, contro, counter

Demi

Dia

dis, di, dif

equi

ex, e, ef

extra

hyper

hypo

in, il, im, ir

inter, intro

mal

mono

neo

non

ob, of, op

omni

ortho

pan

peri

poly

post

pro

retro

semi

sub

super

syn, sym

trans

ultra

uni

vice

SUFFIXES: Grade 9 Vocabulary Program

able

acious, cious

age

ance, ence

ate

ary, eer, er

Dom

Ence

er, or

escent

hood

ic, id

il, ile

ion

ious

ish

ism

ist

ive

mony

ness

or, er

ory

ous, ose

ship

some

tude

ward

ROOT WORDS: Grade 10 Vocabulary Program

ag, act

agr

alter

anim

ann

anthrop

aper

apt

aqu

arch

aster, astr

aud

aur

bas

bell

ben

bibl

bio

brev

cad, cas, cid

cand

cap, capt

capit

carn

ced, cess

celer

cent

chrom

chron

cid, cis

clin

clud, clus

cogn

cord

corp

cosm

cred

curr, curs

dec

dem

derm

dic, dict

dign

domin

dorm

duc, duct

ego

equ

fac, fact, fect, fic

fer

fid

fin

flect, flex

form

fort

frag, fract

fug

fus

gen

gest

grad, gress

graph

grat

hydr

integr

ject

junct

lat

leg, lig, lect

liber

loc

log

loqu, locut

luc, lum

magn

man

mar

mater

mega

ment

merg

meter

micro

migr

mir

mit, miss

mon

mort

mot, mov

mult

mut

nat

nav

neg

nomen

nov

ocul

oper

pater, patri

ped, pod

ped

pel, puls

pend, pens

pet

petr

phil

phob

phon

plic

pon, pos

port

pot

poten

prehend, prehens

prot

pstch

quer, quir, quis, ques

reg, rig, rect

rid, ris

rupt

sacr

sanct

sci, scio

scop

scrib, script

sec, sect

sed, sid, sess

sent, sens

sequ, secut

serv

sist

solv, solu

somn

soph

spec, spect, spic

spir

stat, stab

string, strict

stru, struct

sum, sumpt

tang, ting, tact, tig

teg, tect

tele

tempor

ten, tain

term

ter, terr

therm

tort, tors

tract

trit

trud, trus

umbra

urb

vac

vad, vas

val, vail

ven, vent

ver

verb

vert, vers

vid, vis

vinc, vict

viv, vit

voc, vok

volv, volut

Strategies to Use When You're Stuck on a Word

P Instead of guessing, reread the sentence containing the word you don't know, as well as the sentences that come before and after it.

P Try to find clues in those sentences to help you figure out the word.

á Think about the title. What do you already know about the subject? What do you anticipate learning in a chapter with this title?

á Read the first paragraph. Look for the author's plan of organization. The introduction may state the topics included, as well as the author's purpose for writing.