tongue twister

tongue_twister__2_

english-tongue-twisters

2023 nov imbued mission impossible rogue nation while imbued

While imbued with a melancholy streak due to the ultimately death of actor Anton Yelchin along with the passing of Leonard Nimoy

this latest adventure plays like a throwback from the "old" trek" series.

POISON iVY

this is a healing poison ivy wound after the pus bubbles had been removed the skin was peeled off to get rid of any trace amounts of infectious pus. Unfortunately no photos of the bubbles. Have a nice day.

Incidents Of Travel In Central America, Chiapas, And Yucatan (1841) Stephens

6 feet = 1,80metrs

ape page 369

whence de onde - por isso

...it had no grip and had lost all muscular powerbut was wound round the branch with the end under

so that the weight of the body tightened the coil and the harder the strain the more secure was the hold.

Sojourn - permanencia ----- Adjourn - adiar

sojourned - permaneceu

adjourned - adiou

posh cars - expensive car - fashionable - high quality car

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POSH | meaning in the Cambridge English Dictionary

dictionary.cambridge.org › posh

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22 de jul. de 2020 - posh definition: 1. (of places and things) expensive and of high quality: 2. (of people and their voices) from a…. Learn more.

The Oera Linda Book

The Oera Linda Book is a manuscript written in a form of Old Frisian, purporting to cover historical, mythological, and religious themes of remote antiquity, from 2194 BCE to 803 CE. Among academics in Germanic philology, the document is widely considered to be a hoax or forgery.

The manuscript first came to public awareness in the 1860s. In 1872, Jan Gerhardus Ottema published a Dutch translation and defended it as genuine. Over the next few years there was a heated public controversy, but by 1879 it was universally accepted that the text was a recent composition. Nevertheless, a public controversy was revived in the context of 1930s Nazi occultism, and the book is still occasionally brought up in esotericism and Atlantis literature. The manuscript's author is not known with certainty, hence it is unknown whether the intention was to produce a pseudepigraphical hoax, a parody or simply an exercise in poetic fantasy.

Historian Goffe Jensma published a monograph on the manuscript in 2004, De gemaskerde god (The Masked God), including a new translation and a discussion of the history of its reception. Jensma concludes that it was probably intended as a "hoax to fool some nationalist Frisians and orthodox Christians", as well as an "experiential exemplary exercise" by Dutch theologian and poet François Haverschmidt.^[1][2]

listening pronunciation poem

Dearest creature in creation,

Study English pronunciation.

I will teach you in my verse

Sounds like corpse, corps, horse and worse.

I will keep you Suzy, busy,

Make your head with heat grow dizzy.

Tear in eye, your dress will tear.

So shall I! Oh hear my prayer.

Just compare heart, beard and heard,

Dies and diet, lord and word,

Sword and sward, retain and Britain. 

(mind the latter, how it's written)

Now I surely will not plague you

With such words as plagua and ague.

But be careful how you speak:

Say break and steak, but bleak and streak;

Cloven, oven, how and low,

Script, receipt, show, poem and toe.

Hear me say, devoid of trickery,

Daughter, laughter, and Terpsichore,

Typhoid, measles, topsails, aisles,

Exiles, similes, and reviles;

Scholar, vicar, and cigar,

Solar, mica, war and far;

One, anemone, Balmoral,

Kitchen, lichen, laundry, laurel,

Gertrude, German, wind and mind,

Scene, Melpomene, mankind.

Describe someone you know who dresses well.

Describe someone you know who dresses well. You should say


who they are


how you know them


what kind of clothes they wear

and say why you like the way they dress.

Tomoko: I'd like to talk about one of my teachers … Miss Evans … she teaches us
English in the school I go to … we always look forward to seeing what she's going to
wear when our lessons start … she's always very well dressed and takes a lot of pride in
her appearance … it's not that she dresses in very smart clothes … she doesn't come to
school dressed to kill or anything like that … but what she wears really suits her … and
she has a great sense of style as well … we often ask her where she gets some of her
clothes and most of the time they're just off the peg … and she says she's not interested
in designer labelsor anything like that … she doesn't seem too concerned aboutkeeping
up with the latest fashion … she just wears clothes that are timeless … yes … Miss
Evans is the person I think looks great in the clothes she wears …

Part 3-style questions

Examiner: What factors do you think affect the clothes we choose to wear?
Maki: It depends … where we are or where we're going is a big factor … if you are going
out to a club or party you're going to dress for the occasion … and then there are those
who think it's important to look like they're on trend … they'll want to wear the latest
fashions … there are lots of factors really …

Examiner: What kind of things determine what is in fashion and what we should be
wearing?
Martin: I suppose the big fashion houses and fashion showsmust have an effect but the
clothes you see on the catwalk don't always reflect what normal people wear … so I
suppose it will be things like what singers are wearing in videos or models are wearing in
magazines … that kind of thing …

Examiner: Is it possible to look good without spending lots of money on clothes?
Corinna: I'm sure it is … yes … I suppose it's about having an eye for what looks good
… knowing how to mix and matchdifferent items of clothing that go well together … I
think you can pick up great bargains in charity shops … sometimes for youngsters
even hand-me-downs can look good …

prayer saint francis prayer

Prayer of Saint Francis of Assisi

Lord, make me an instrument of your peace.
Where there is hatred, let me sow love;
where there is injury, pardon;
where there is doubt, faith;
where there is despair, hope;
where there is darkness, light;
and where there is sadness, joy.

O Divine Master, grant that I may not so much seek
to be consoled as to console;
to be understood as to understand;
to be loved as to love.
For it is in giving that we receive;
it is in pardoning that we are pardoned;
and it is in dying that we are born to eternal life.
Amen

poem If you want the life you have, don’t date a mystic woman.

Kendra Snow - Model compartilhou a foto de Dakini Chantelle.

Foto de Dakini Chantelle.
9 h ·








Dakini Chantelle com Huda Musa

If you want the life you have, don’t date a mystic woman.

A mystic woman is a wild creature. She spends all her life seeking, for there is nothing else
worth doing. She peers and gazes until she falls from the edge of the world, and into the
next. Over and over. Each time she returns, she is a little different. What she sees must
change her. She dies every moment. She is reborn every day. Can you even begin to fathom
the terror and the faith commanded from such a being? Can you even begin to understand
what such a life can do?

If you want the life you have, don’t date a mystic woman..

If you are comfortable and cozy, stay away. Whatever you have built around yourself to
create comfort: it cannot stand in the blazing fire of a mystical woman. She is no trophy. She
is no bodily pleasure-maker. She is the seer of souls. She is the womb that births the divine
into the flesh and bone of matter. She doesn’t mean to burn your village to the ground, but
she has seen what you are meant to become. You are not a peasant shearing sheep, as you
have thought. You are a king dressed in rags who has amnesia.

If you want the life you have, don’t date a mystic woman.

If she touches you, and all the voices on the wind go silent, if you feel you are in a snow
globe when you embrace her, she is your destroyer. She will destroy the false idol you see in
the mirror. She will smash it open because it is your prison. If you wish to stay there, she
will shatter you another way. She will leave.

If you want the life you have, don’t date a mystic woman.


Everybody wants the magic, but nobody wants the Mystery, the schooling: a thing that must
be lived in a place where book knowledge has no meaning, for all books are manuals to the
world you already know. That means, the well-honed intellect — the masculine theory of
reason — will not save you, cannot free you. It is for a world whose time is over. The
Mystery, by its very nature, must show you what has never been seen, never been written,
never been known, because before you were forged, it was impossible. The arts of women
have been called the dark arts for too long, and they are the keys to infinity. Infinite form.
Infinite being. Infinite life.

If you want the life you have, don’t date a mystic woman.

If your dreams are not filled with the Mystery, you are better off with a normal life, because
she will see things that are invisible to you. She will feel things that you cannot feel beneath
the layers of numbness you have wrapped yourself in. She will call upon your true self, your
real soul, and she will sing it down into you, into herself and life will open up, for this very
moment...

teacher Possible Solutions:

1. T asks further concept-checking questions:
Have I concluded the plan yet? No
Has the trip happened? No
Does it depend on the planning is progress now? Yes

2. T clarifies the use and asks concept-checking questions:
Does the writer plan things every day? No
Possible Solutions:

1. In this case, t will use the fingers to show them something is missing. After eliciting The missing part, t will board the sentence and circle verb to be.

2. T will board the item and use different colours to show the ing ending of the verb.
Possible Solutions:

1. T uses the fingers again to mean both words are produced as one. T has Ss drill it.

2. T models the word, has Ss drill it and offers similar words to be practiced with.


Possible Solutions:

1. T clarifies the meaning and offers further concept-check questions (Is it related to general surroundings, like your house?)

2. T discourages the break of the word into two parts and tells Ss this is one word only, reinforcing the concept-check questions above.

Possible Solutions:

1. In this case, boards the item, using different colours to show the ‘al’ at the end, and relating it to the right word class.

2. T boards the word and shows the missing letter. Possible Solutions:

1. T prompts Ss saying the first part of the word and stopping right before the mistaken sound. After the correction, t has Ss drill it.

2. T gives ss two distinct models /e/ and /?/ and asks Ss to say which is correct. After the correction, t has Ss drill it.



The ‘-ing’ form is used together with some form of the verb ‘to be’ (am, is, are) in the construction of progressive forms.

In that case, only verb to be is conjugated (has/have been, was/were, etc), remaining the main verb intact in the ing form.

used for politely asking someone to do something for you, especially someone you do not know

I’m sorry to bother you

refers to a place which someone has visited sometime in his life and has
come back again. In other words, “has been to” refers to an experience.

refers to a place which someone has visited sometime in his life and has
come back again. In other words, “has been to” refers to an experience.


You have been working. You haven’t been working. Have you been working?

Learners may overgeneralise the rule and use the continuous form of the Present Perfect with state-verbs such as know or believe.

phonological challenges, phonology, phonetics

The best way of dealing with phonological challenges in words or phrases is by modelling and drilling.

Modelling is simply pronouncing the language clearly, sometimes with the support of visual aids such as finger-highlighting, which is especially useful for modelling syllables and word stress in long words.
On the other hand, oral drills help to consolidate the pronunciation of the item and, in the case of structures, its form.

It is also a good moment for the teacher to check that the class or individual students are pronouncing the TL correctly.

Note, Seligson

Language Analysis in ESOL and CLIL Lesson Planning
By Alfonso López (alopez@cesdonbosco.com)

For phonology:

For phonology:

• The best way of dealing with phonological challenges in words or phrases is by modelling and drilling.

Modelling is simply pronouncing the language clearly, sometimes with the support of visual aids such as finger-highlighting, which is especially useful for modelling syllables and word stress in long words.

On the other hand, oral drills help to consolidate the pronunciation of the item and, in the case of structures, its form. 

It is also a good moment for the teacher to check that the class or individual students are pronouncing the TL correctly. 

Note, Seligson

Language Analysis in ESOL and CLIL Lesson Planning
By Alfonso López (alopez@cesdonbosco.com)

oral Drill - drilling

A drill is a classroom technique used to practise new language. It

involves the teacher modelling a word or a sentence and the learners

repeating it. There are different kinds of drilling, such as choral

drill, which involves the whole class, and substitution drill, where

the teacher changes the cue words after each repetition.

Example

The following sequence is an example of a substitution drill

Teacher: I like cheese

Learners: I like it

Teacher: I like apples

Learners: I like them

Teacher: I like Sue etc

In the classroom

Drilling is a classroom technique which some teachers reject due to a

possible lack of communicative quality and its highly controlled,

teacher-centred nature. However, there are advantages to it also, such

as offering learners an opportunity to practise pronunciation in a

non-threatening dynamic.

introduction to English grammar

Due to recent inactivity on the site we can no longer be certain that the same ALISON learner is using this browser, and your log in session has therefore been timed out. For data security reasons, please log in again, thank you.

Learning language is not so difficult. Most of us pick up language from our parents, brothers, sisters, aunts, uncles. grandparents, teachers and other members of our community.
Our earliest memories of reading, writing and speaking give us insight into how language develops. Consider your first memories of using language in different ways.

Do you remember your first words?
 Do you have any early memories of reading?

These people, captured on video are talking about their earliest memories of writing.

The only thing I remember was that I was chosen as the secretary of the class every year so I assist the teacher in writing some notes on the board. But that was during my elementary years.

he rules of English

All languages have rules and once you know these you should have a grasp on how to communicate effectively.

How often have you been in a situation where something has been communicated badly and everyone is left confused? Try the activities in this animation to see how well you understand some of the rules of English.
Language is all about communicating with people. Writing, for example, has different rules to those used when speaking.

When speaking you may be more informal and use body language to get your message across.

In writing you need to follow the rules of the language you're writing in.

The English language is perhaps one of the trickiest to learn because there appears to be so many rules.

The English language is tricky because it has been influenced by other languages such as: French, German, Latin, Greek, Scandinavian, Arabic and Indian.

It is little wonder that even professional writers such as editors and journalists don't always communicate clearly.

Words in context

To use words as building blocks properly you need to work out how they are used with other words. You need to look at how a word is used in context. This way you'll become a master of working with words; a wordsmith!

If you really want to communicate well, it is important to learn how to manipulate the words you use and make them work for you. Let's have a look at an example showing how words are used in different ways.It is important to be precise when using the English language. If we are not precise our words can be ambiguous or read in ways that we did not intend.

In order to communicate clearly we need to understand the rules of language. Imagine playing a football match or a game of chess without rules. Just like the rules of a game there are rules to consider when using the English language.

These guidelines for using language will help you to be precise and to communicate clearly.

Learnings the conventions of language ensures that communication is clear and effective.
The basis of the English language is the alphabet forwards. However, try placing the 26 letters of the alphabet into reverse order.

Language is all about communicating with people. Writing, for example, has different rules to those used when speaking.

When speaking you may be more informal and use body language to get your message across.

In writing you need to follow the rules of the language you're writing in.

When writing quickly the rules of English are occaionally forgotten.
Journalists, for example, are often under the pressure of time to write articles and headlines. Sometimes headlines can have more than one meaning.

"Two sisters reunited after 18 years in checkout counter."
Something went wrong in jet crash, expert says.
Police begin campaign to rundown
 Jaywalkers.
Teacher strikes Idle kids.
CLinton wins budget, more lies ahead.
Plane too close to ground, crash probe told.
Miners refuse to work after death.
Juvenile court to try shooting defendant.
Stolen painting found by tree.
war dims hope for peace.
red tape holds up new bridges.
kids make nutritious snacks
hospital sued by 7 foot doctors
Local High School dropouts cut in half.
Typhoon rips through cemetery, hudreds dead.
New vaccine may contain rabics.
Enfield couple slain, police suspect homicide.
cold wave linked to temperature.

The English language is perhaps one of the trickiest to learn because there appears to be so many rules.

The English language is tricky because it has been influenced by other languages such as: French, German, Latin, Greek, Scandinavian, Arabic and Indian.

It is little wonder that even professional writers such as editors and journalists don't always communicate clearly.

Words in context

To use words as building blocks properly you need to work out how they are used with other words. You need to look at how a word is used in context. This way you'll become a master of working with words; a wordsmith!

If you really want to communicate well, it is important to learn how to manipulate the words you use and make them work for you. Let's have a look at an example showing how words are used in different ways.

Write a headline, of no more than eight words, foreach of the following images.
Imagine these images will appear on the front page of a major daily newspaper.
write your headline by clicking in the space provided.
Watering 4 Babies is Easy
Sunbathing Is Dangerous
Who Plays Who?

When we have a good understanding of the rules of the English language we can begin to play with them and to have fun with words. Once the rules are mastered we can then use tools such as ambiguity deliberately. In this cartoon ambiguity has been used as a tool to provide humour.

When we have a solid grasp of how to use the English language we can use it to fulfil our purposes, whether that be to make an audience laugh, to move them to tears or simply to communicate our ideas.
When you read newspapers, especially newspaper headlines, you will see the English language is very flexible. We can use it, as you have seen, to provide humour. It can also be used to explain, to instruct, to describe and to report.

The English language enables us to communicate in various ways. It is important to understand how we can be flexible in the way we use language. We can mould language, shape it and form it according to our wishes if we know the basic rules for its use.
Chef throws his heart into Helping Feed Needy.
Words are the building blocks of our communication whether we speak them or write them. Words are the means by which other people understand our thoughts and ideas. Without words to express what we want to communicate we become frustrated.
When you read newspapers, especially newspaper headlines, you will see the English language is very flexible. We can use it, as you have seen, to provide humour. It can also be used to explain, to instruct, to describe and to report.

The English language enables us to communicate in various ways. It is important to understand how we can be flexible in the way we use language. We can mould language, shape it and form it according to our wishes if we know the basic rules for its use.


The sad thing is we are losing words from our language faster than you think.

Do you know why?

A cartoon character of a roman aristocrat stands bewildered with his sandal undone and the leather thong that would have wound around his leg is tangled around his ankle. He calls; Could somebody come and tie my latchet?

The list of rare words in the previous animation was gathered from a random glance through a dictionary published only in 1962 and it only represents half the alphabet. The only words chosen in that list were naming words (nouns) and words of action (verbs). Some words like "latchet" have disappeared because we do not wear leather sandals with straps up our legs any more. They went out with the Romans! Other words though, like "mottle" or "haver" are words that we have stopped using through laziness.

Archaic words

In this animation you will see a number or words that are no longer used or are used rarely. See if you have heard any of them. Drop the terms to the definitions to see if you have a match.
fulminate to flash like lightning.
delate - to inform against someone
caulk - to seal the seams of a ship
evince - to show or illustrate a quality
mottle - to spot or blotch
haver to talk foolishly
baize coarse woollen material usually for covering
inveigh to speak violently against
knurl - a knot or knob
jorum - a large bowl for drink such as punch
aurist - an ear spcialist
latchet a strip of leather for fastening a shoe

new and troublesome words
Many new words in the English language have appeared as new technologies have arisen and as new social movements have developed. Watch the animation and then see if you can match the terms to the definitions.
cyberspace disk email gigabyte intranet moden RAM
black hole quark quasar sputnik teleporter
compact disk  minidisk MP3
blding cross training televangelist road race artsy

USING AUTHENTIC MATERIALS FOR TEACHING READING COMPREHENSION IN A MEANINGFUL WAY

Ana Rojas
Universidad Nacional,
Costa Rica
Another aspect to consider when using the material we choose is:
 the various learning styles we can find in the classroom.

There are various models that provide different categories of leaning styles:
For example, one presented by Ricky Linksman, 1996; states that
the learning styles are: -Visual, -Auditory, -Tactile and -Kinesthetic,

which cannot be considered alone since each one should be linked to the brain hemispheric dominance (left or right). That is, according to this author, most people have one side of the brain more developed than the other
due to various factors, and that side of the brain should be considered as well as the person’s learning style when teaching. However, there are other proposals like the one proposed by Feldger and Henriques.

They have stated the following learning styles:            sensing and intuitive, visual and verbal,
active and reflective, sequential and global, and inductive and deductive
learners.
(http://www.ncsu.edu/felder-public/Papers/FLAnnals.pdf)
Another model is the one proposed, with many details, in the web page of Advanogy.com.
They stated that there are seven
different categories: visual, aural, verbal, physical, logical, social, and solitary.
There are indeed many differences in these and other models; however, what’s important is to keep in mind that
we have many students in the class, and each one may have a different learning style.
That is why we need to choose a variety of texts and teaching methods to approach reading comprehension.

“The goal is a balanced teaching style, in all classes at all levels. Our hypothesis is that language
instructors who adapt their instruction to address both poles of each of the five given dimensions
should come close to providing an optimal learning environment for most (if not all) students in
a class” (Feldger and Henriques 27)

Besides learning styles, we must also consider the reading techniques we plan to
apply in the class.

Brown (298) has proposed several principles for designing interactive teaching
techniques which are very valuable for any reading course.

His principles are the following:
1- In an interactive curriculum, make sure that you don’t overlook the importance of specific
instruction in reading skills.
2- Techniques should be intrinsically motivating.
3- Techniques should utilize authentic language and contents.
4- Encourage the development of reading strategies.
5- Include both bottom-up and top-down techniques.
6- Consider subdividing your techniques into pre-reading, during-reading, and after-reading
phases.
7- Build in some evaluative aspect to your techniques.

TEACHING WITH AUTHENTIC MATERIALS

TEACHING WITH AUTHENTIC MATERIALS
By David Heitler


The Practice of English Language Teaching, Jeremy Harmer.
Describing Learners
Adult Learners page 40

Adult language learners are notable for a number of special characterístics:
- They can engage with abstract thought. Those who succeed at language learning in latter life, according to Steven Pinker, '...often depend on the concious exercise of their considerable intellects, unlike children to whom language acquisition naturally happens' (Pinker 1994:29). This suggests that we do not have to rely exclusively on activities such as games and songs - though these may be appropriate for some experiences for some students.
They have a whole range of life experiences to draw on.
They have expectations about the learning process, and may already have their own set of patterns of learning.
Adults tend, on the whole, to be more disciplined than some teenagers, and crucially, they are often prepared to struggle on despite boredom.
They come into classrooms with a rich range of experiences which allow teachers to use a wide range of activities with them.
Unlike young children and teenagers, they often have a clear understanding of why they are learning and what they want to get out of it. As we shall see in Section c below, motivation is a critical factor in successful learning, and knowing what you want to achieve is an important part of this. Many adults are able to sustain a level of motivation (see Section c3) by holding on to a distant goal in a way that teenagers find more difficult.

However, adults  are never entirely problem-free learners, and have a number of characteristics which can sometimes make learning and teaching problematic:
They can be critical of teaching methods. Their previous learning experiences may have predisposed them to one particular methodological style which makes them uncomfortable with unfamiliar teaching patterns. Conversely, they may be hostile to certain teaching and learning activities which replicate the teaching they received earlier in their educational careers.
They may have experienced failure or criticism at school which makes them anxious and under-confident about learning a language.
Many olders adults worry that their creative powers may be disminishing with age - they are concerned to keep their creative powers alive, to maintain a 'sense of generativity' (Willian and Burden 1997:32). However, as Alan Rogers points out, this generativity is directly related to how much learning has been going on in adult life before they come to a new learning experience (1996:54).

Procedure talk

Procedure talk is not primarily about removing or correcting unwanted behavior, although certain administrative procedures might sometimes forget to follow a procedure.
Instead it is intended to provide the guidance that students need to coordinate with each other and with the teacher.

What can make classroom discourse confusing is that two of its functions - content and procedures - often become combined with the third, control talk, in the same remark or interaction. For example, a teacher may ask a content-related question as a form of control talk.

She may, for example, ask, "Jeremy, what did you think of the film we just saw?" The question is apparently about content, but the teacher may also be trying to end Jeremy's daydreaming and to get him back on task - an example of control talk.
Or a teacher may state a rule: "When one person is talking, others need to be listening." The rule is procedural in that it helps to coordinate classroom dialogue, but it may also control inattentive behavior.

Communication in the classroom is both verbal and non verbal.

Alison a New World of Certified Course  2014 DEC 28

Communication in the classroom is both verbal and non verbal. Teachers should never underestimate the body language of students and the message that they convey. Teachers should be aware of their own body language, it can motivate and demotivate in equal measure. Voice and language should be pitched accordingly. Last but not least. Eye contact.

It is important emphasize the key role of verbal communication. It is becoming increasingly obvious that non-verbal communication, especially boby language have aided communication in the classroom. I have seen this work for me always as the way and manner a teacher enters the class and conducts himself. It defines the extent that he will be able to engage with the students and sustain their interest in the course as well as their level of comprehensibility.

Introduction to communication in the Classroom.

Introduction to communication in the Classroom.

As a teacher, you face almost continual talk at school, supplemented by ample amounts of non-verbal communication - gestures, facial expressions, and other "body language".
Often the talk involves many people at once, or even an entire class, and individuals have to take turns speaking while also listening to others having their turns, or sometimes ignoring the others if a conversation does not concern them.
As the teacher, therefore, you find yourself playing an assortment of roles when communicating in classrooms: Master of Ceremonies, referee - and of course a source of new knowledge.
Your challenge is to sort the roles out so that you are playing the right ones in the right combinations at the right times.
Often, you will indeed be more sincereand brief, and you will find that minimizing power differences between you and students is a good idea.
CLassroom events are so complex that just talking with students can become confusing. It helps to think of the challenge as a problem in communication - or as one expert put it, of "who says what to whom, and with what effect." (Lasswell, 1964).

In classrooms, things often do not happen at an even pace or in a logical order, or with just the teacher and one student interacting while others listen or wait patiently.
While such moments do occur, events may sometimes instead be more like a kaleidoscope of overlapping interactions, disruptions, and decisions - even when activities are generally going well. An example of this may be seen on the next slide.

Scenario of Overlapping  Interactions

One student finishes a task while another is still only halfway done. A third student looks like she is reading, but she may really be dreaming.
You begin to bring her back on task by speaking to her, only to be interrupted by a fourth student with a question about an assignment. While you answer the fourth student, a fifth walks in with a message from the office requiring a response; so the bored(third) student is overlooked for a while longer.
Meanwhile, the first student - the one who finished the current task - now begins telling a joke to a sixth student, just to pass the time. You wonder, "Should I speak now to the bored, quiet reader or to the joke-telling student? Or should I move on with the lesson?"
While you are wondering this, a seventh student raises his hand with a question, and so on.

One way to manage situations like these is to understand and become comfortable with the key features of communication that are characteristic of classrooms.
One set of features has to do with the functions or purposes of communication, especially the balance among talk related to content, to procedures, and to controlling behavior.
Another feature has to do with the nature of non-verbal communication - how it supplements and sometimes even contradicts what is said verbally.
A third feature has to do with the unwritten expectations held by students and teachers about how to participate in particular kinds of class activities - what will later be known as the structure of participation.