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Students collaborating together. 

Photo by the Liverpool School of English .

Teaching Students to Critique Helping your students learn how to creatively critique each other's work.

Lesson content, what is a critique.

A critique is an oral or written discussion strategy used to analyze, describe, and interpret works of art. Critiques help students hone their persuasive oral and writing, information-gathering, and justification skills.

Provide direction and guidance with the critique to ensure that students stay on task and address the purpose and objectives of the lesson.

Below is a sample set of focus questions for an art critique related to four major areas of art criticism: description, analysis, interpretation, judgment. (The number of questions and aspects of specificity will vary according to the art form and number of works in the critique).

Description

Describe the work without using value words such as "beautiful" or "ugly":

  • What is the written description on the label or in the program about the work?
  • What is the title and who is (are) the artist(s)?
  • When and where was the work created?
  • Describe the elements of the work (i.e., line movement, light, space).
  • Describe the technical qualities of the work (i.e., tools, materials, instruments).
  • Describe the subject matter. What is it all about? Are there recognizable images?

Describe how the work is organized as a complete composition:

  • How is the work constructed or planned (i.e., acts, movements, lines)?
  • Identify some of the similarities throughout the work (i.e., repetition of lines, two songs in each act).
  • Identify some of the points of emphasis in the work (i.e., specific scene, figure, movement).
  • If the work has subjects or characters, what are the relationships between or among them?

Interpretation

Describe how the work makes you think or feel:

  • Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, ugly, funny)?
  • Does the work remind you of other things you have experienced (i.e., analogy or metaphor)?
  • How does the work relate to other ideas or events in the world and/or in your other studies?

Judgment or Evaluation

Present your opinion of the work's success or failure:

  • What qualities of the work make you feel it is a success or failure?
  • Compare it with similar works that you think are good or bad.
  • What criteria can you list to help others judge this work?
  • How original is the work? Why do you feel this work is original or not original?

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Joyce Payne

Joanna McKee

November 26, 2019

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Lesson Joan Miró and Surrealism

In this 9-12 lesson, students will be introduced to the history and concepts of the Surrealist movement to create original artwork. They will research and present findings of Joan Miró’s art and place within the Surrealist movement. Students will apply methods of Surrealism to create an original painting. 

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Lesson Creating Fictional Characters

In this 9-12 lesson, students will examine character as a significant element of fictional stories. They will learn methods of characterization, identify supporting details, and critique these methods in works of fiction. Students will apply methods of characterization with a quick write.

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Lesson Visual Storytelling

In this K-2 lesson, students will examine how illustrations contribute to the telling of a story. Through picture books (without words), students will discuss and interpret details about the characters, setting, and plot. Students will create illustrations to accompany a text and then write text to accompany illustrations. 

  • Literary Arts
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critique paper lesson plan

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critique paper lesson plan

So What Do You Think? Writing a Review

So What Do You Think? Writing a Review

  • Resources & Preparation
  • Instructional Plan
  • Related Resources

Teenagers are often outspoken and opinionated. Writing reviews of the literature they read gives them a chance to express their ideas while developing style and voice. This lesson uses discussion of student opinions about yesterday's lunch or a popular TV show serves as an introduction to the genre of reviews. Students then read and analyze conflicting reviews. After examining samples of movie, music, restaurant, and book reviews, students devise guidelines for writing interesting and informative reviews. They then produce their own reviews of the literature they're reading in class. Finally, students compare their ideas and their pieces with published reviews of the same piece of literature. Though this lesson is illustrated with examples from student and professional reviews of Raymond Carver's writing, the techniques can be used with whatever literature students are reading.

Featured Resources

Components of a Review : This handout gives an overview of what is normally included in a critical review.

Review Guidelines : Students can use these guidelines when writing their own critical reviews.

From Theory to Practice

While it's important for students to learn to read and evaluate critical commentary, "Each reader has a right-and even a responsibility-to form his or her own opinions, based on that reader's reading and understanding of a piece of literature, and to be able to support those opinions with solid reasons" (97).

When students express ideas on an author's work that are also noted by critics, "it presents a perfect opportunity to introduce critical commentary naturally into class discussion in order to promote a deeper understanding of the literature" (100).

Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

  • 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
  • 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
  • 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
  • 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
  • 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
  • 7. Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.
  • 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
  • 9. Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.
  • 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

  • Sample reviews of various types (movie, music, restaurant, book, etc.), both print and online
  • Specific reviews of the literature students are reading
  • Components of a Review
  • Creating Classroom Discussion about Reviews
  • Student Example of a Book Review
  • Review Guidelines
  • Writing a Review Checklist
  • Student Reflection Sheet

Preparation

  • two conflicting reviews of a current movie, television show, or CD with which students are likely familiar.
  • reviews specific to the writer(s) who students are reading. The Stauffer Library Reference and  Book Reviews in the Yahoo! Directory may be helpful in finding those reviews.
  • Make appropriate number of copies of handouts.
  • Test the ReadWriteThink Pinting Press on your computers to familiarize yourself with the tool and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.

Student Objectives

Students will

  • read a variety of different kinds of reviews.
  • determine the qualities and characteristics of an effective review.
  • use critical thinking skills to formulate their own opinions about a writer's work.
  • apply their knowledge to write their own reviews.
  • compare their ideas and their work to that of professional reviewers.

Session One

  • In this first class session, work to generate interest in writing a review-and to convince students that they do have strong and valid opinions.
  • If lunch was "gross," what made it so?
  • If the show was "really funny," why did it make them laugh?
  • Ask students why they go to certain movies, buy specific CDs, or choose to eat in particular restaurants. Encourage them to explore where they get their "recommendations" from.
  • Invite students to share both positive and negative experiences they have had as a result of listening to someone else's opinion.
  • Lead the discussion to a point where students begin to see that word-of-mouth recommendations and published reviews essentially serve the same purpose: to comment on and evaluate a work or an event.
  • Share two conflicting reviews with students.
  • the kind of information included in both reviews.
  • the specific points the reviewers agree and disagree about.
  • any differences in focus between the reviews.
  • which review is more entertaining—and why.
  • which review is more convincing—and why.
  • Ask students to list various kinds of reviews and to suggest where they can find these reviews (newspapers, magazines, journals, and online).
  • For homework, ask each student bring one to three reviews to class.

Session Two

  • In this second session, focus on helping students determine the qualities and characteristics of a good review.
  • the name of what is being reviewed
  • a clear statement of the reviewer's opinion (i.e., a thesis)
  • specific examples that support the reviewer's opinion
  • a particular tone (use of humor, sarcasm, authority, etc.).
  • book reviews may include quotations from the work.
  • restaurant reviews may discuss atmosphere.
  • both music and literary reviews may trace developments in the writer/musician's history.
  • Each small group should choose one review to read to the class along with their own short oral analysis.
  • As a conclusion to the activity, the class as a whole should compile a list on the board or on chart paper of qualities that contribute to a good review. If desired, share the Components of a Review handout, which reviews the parts of a review.
  • The teacher should collect all reviews students brought in for homework for use in future sessions.

Session Three

  • In this third session, work to get students to focus on the particular attributes of a book review in preparation for writing their own reviews of the literature they're reading.
  • Ideally, the teacher should have a selection of book reviews from those collected from students the previous day. In case students have not brought in book reviews, the teacher should have such reviews available. These reviews should be carefully chosen so that their content is accessible to students. It's best if some reviews focus on works students may have read while others are of work unfamiliar to students.)
  • In small groups of three or four, have students examine a book review and break it down into its components to determine how the introduction, the body, and the conclusion allow the writer to make his/her points.
  • Next, students should examine the particular style of their group's review and determine how the writer achieves a unique voice. Each group should try to determine the tone of their review (i.e., pompous and authoritative, humorous, enthusiastic, analytical, etc.) by noting such things as word choice, sentence structure, and use of detail. If students have collected reviews written by the same reviewer, these "elusive" qualities may be easier to spot.
  • Invite a class discussion about how a review combines the informative aspects of straight journalism with the "pizzazz" of personal narrative.
  • Where did your review appear?
  • What do you know about this publication?
  • Who do you think the audience for this publication would be?
  • What would a reader who had read the book take from the review?
  • What would a reader unfamiliar with the book take from the review?
  • By the end of the session, ask students to compile a class list of broad, basic guidelines for writing a review. Example guidelines are also available.
  • Invite students to begin writing the first draft of a review based on the particular piece(s) of literature the class is studying.
  • If students are reading one book, that one work would be the focus of the review.
  • If students are reading more than one work (i.e., a number of short stories, poems, or essays) by an author, the review can cover any or all of this material.
  • Ask students to design a rating system to include with the written review. The system can be as traditional as 1-5 stars or something more creative.
NOTE: Older students tend to get the style and tone of a review quite quickly, while younger students often produce something more like a book report in the early drafts. Writing instruction should be geared to the ability of each class.
  • Use the Writing a Review Checklist as a guide to help students draft and edit their reviews.

Session Four

  • In this fourth session, introduce critical commentary into class discussion.
  • When the students have completed their reviews, invite them to publish their reviews using one of the options on the ReadWriteThink Printing Press . Print them when they are complete.
  • With their final drafts complete, have students read professionally written reviews on the same text and compare their ideas as well as their writing to these reviews. Depending on the accessibility of these reviews, you can collect all published material or students can be assigned this task. (It's for this reason that this aspect of the assignment works best if the writers reviewed are contemporary.)
  • When comparing their reviews with the published pieces, students should find points that are raised in both. This process demystifies critical commentary and allows students to feel comfortable discussing the work of reviewers. For example, one of my students writes of his appreciation of Carver's "deadpan humor."
  • Teachers can use such excerpts to generate lively classroom discussion. If desired, use the this suggestion for creating a classroom discussion.
  • After all students have reacted to each excerpt, invite the class to break into pairs or small groups, with each group responsible for sifting through the material on one of the papers.
  • Finally, have students present conclusions based on their peers' responses to the critical commentary.
  • a classroom bulletin board displaying reviews, accompanied by artwork and photographs of the authors.
  • a class compilation of reviews. Students can use the ReadWriteThink Printing Press to compile their reviews in a reader-friendly format.
  • a class publication with all reviews collected in a booklet, brochure, or binder and saved for future classes who will be studying the same author. This collection can be added to over the years to create an "historical perspective" on a particular works/authors.
  • submissions to print and online publications that seek reviews. (Note: Teen Ink seeks student written reviews on all topics.)
  • writing an individual response to a review to then share with the class.
  • revising and rewriting their own original reviews to address points raised by the professional reviewer.
  • working with a partner and each taking a side in response to a review, with one student proving the reviewer is "right" and the other proving him/her "wrong."
  • When students are comparing different types of reviews, invite them to use the Venn Diagram interactive.

Student Assessment / Reflections

  • Grade the review as a complete writing assignment.
  • As students write and revise their reviews, guide their work with the Review Checklist , a worksheet that outlines the vital features of a good review and asks students to verify that their final review includes these specific features. This checklist can be used by the teacher in evaluating the review.
  • Students can assess their own work and learning by completing a Reflection Sheet that is handed in with the review. As with all reflection sheets, the form should include 4–5 questions that make writers really think about their pieces and the process that led to their creation.
  • Publish student reviews using one of the options listed above to provide further feedback and assessment for students.
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The interactive Printing Press is designed to assist students in creating newspapers, brochures, and flyers.

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Writing a Critique Paper: Seven Easy Steps

Were you assigned or asked by your professor to write a critique paper? It’s easy to write one. Just follow the following four steps in writing a critique paper and three steps in presenting it, then you’re ready to go.

One of the students’ requirements I specified in the course module is a critique paper. Just so everyone benefits from the guide I prepared for that class, I share it here.

To standardize the format they use in writing a critique paper, I came up with the following steps to make their submissions worthwhile.

Since they are graduate students, more is expected of them. Hence, most of the verbs I use in writing the lesson’s objectives reside in the domain of higher thinking skills or HOTS. Developing the students’ critical thinking skills will help them analyze future problems and propose solutions that embody environmental principles thus resonate desirable outcomes aligned with the goal of sustainable development.

Table of Contents

Step-by-step procedure in writing a critique paper.

I quickly wrote this simple guide on writing a critique paper to help you evaluate any composition you want to write about. It could be a book, a scientific article, a gray paper, or whatever your professor assigns. I integrated the essence of the approach in this article.

The critique paper essentially comprises two major parts, namely the:

1) Procedure in Writing a Critique Paper, and the

2) Format of the Critique Paper.

First, you will need to know the procedure that will guide you in evaluating a paper. Second, the format of the critique paper refers to how you present it so that it becomes logical and scholarly in tone.

The Four Steps in Writing a Critique Paper

Here are the four steps in writing a critique paper:

To write a good critique paper, it pays to adhere to a smooth flow of thought in your evaluation of the piece. You will need to introduce the topic, analyze, interpret, then conclude it.

Introduce the Discussion Topic

Introduce the topic of the critique paper. To capture the author’s idea, you may apply the  5Ws and 1H approach  in writing your technical report.

That means, when you write your critique paper, you should be able to answer the Why , When , Where , What , Who , and How questions. Using this approach prevents missing out on the essential details. If you can write a critique paper that adheres to this approach, that would be excellent.

Here’s a simplified example to illustrate the technique:

The news article by John Doe was a narrative about a bank robbery. Accordingly, a masked man  (Who)  robbed a bank  (What)  the other day  (When)  next to a police station  (Where) . He did so in broad daylight  (How) . He used a bicycle to escape from the scene of the crime  (How) . In his haste, he bumped into a post. His mask fell off; thus, everyone saw his face, allowing witnesses to describe him. As a result, he had difficulty escaping the police, who eventually retrieved his loot and put him in jail because of his wrongdoing  (Why) .

Hence, you give details about the topic, in this case, a bank robbery. Briefly describe what you want to tell your audience. State the overall purpose of writing the piece and its intention.

Is the essay written to inform, entertain, educate, raise an issue for debate, and so on? Don’t parrot or repeat what the writer wrote in his paper. And write a paragraph or a few sentences as succinctly as you can.

Analyze means to break down the abstract ideas presented into manageable bits.

What are the main points of the composition? How was it structured? Did the view expressed by the author allow you, as the reader, to understand?

In the example given above, it’s easy to analyze the event as revealed by the chain of events. How do you examine the situation?

The following steps are helpful in the analysis of information:

  • Ask yourself what your objective is in writing the critique paper. Come up with a guidepost in examining it. Are you looking at it with some goal or purpose in mind? Say you want to find out how thieves carry out bank robberies. Perhaps you can categorize those robberies as either planned or unplanned.
  • Find out the source, or  basis, of the information that you need. Will you use the paper as your source of data, or do you have corroborating evidence?
  • Remove  unnecessary information  from your data source. Your decision to do so depends on your objective. If there is irrelevant data, remove it from your critique.

We can use an analogy here to clearly explain the analysis portion.

If you want to split a log, what would you do? Do you use an ax, a chainsaw, or perhaps a knife? The last one is out of the question. It’s inappropriate.

Thus, it would be best if you defined the tools of your analysis. Tools facilitate understanding and allow you to make an incisive analysis.

Read More : 5 Tools in Writing the Analysis Section of the Critique Paper

Now, you are ready to interpret the article, book, or any composition once the requisites of analysis are in place.

Visualize the event in your mind and interpret the behavior of actors in the bank robbery incident. You have several actors in that bank heist: the robber, the police, and the witnesses of the crime.

While reading the story, it might have occurred to you that the robber is inexperienced. We can see some discrepancies in his actions.

Imagine, his mode of escape is a bicycle. What got into him? Maybe he did not plan the robbery at all. Besides, there was no mention that the robber used a gun in the heist.

That fact confirms the first observation that he was not ready at all. Escaping the scene of the crime using a bicycle with nothing to defend himself once pursued? He’s insane. Unimaginable. He’s better off sleeping at home and waiting for food to land on his lap if food will come at all.

If we examine the police’s response, they were relatively quick. Right after the robber escaped the crime scene, they appeared to remedy the situation. The robber did not put up a fight.

What? With bare knuckles? It makes little sense.

If we look at the witnesses’ behavior, we can discern that perhaps they willingly informed the police of the bank robber’s details. They were not afraid. And that’s because the robber appears to be unarmed. But there was no specific mention of it.

Narrate the importance of each of the different sections or paragraphs. How does the write-up contribute to the overall picture of the issue or problem being studied?

Assess or Evaluate

Finally, judge whether the article was a worthwhile account after all. Did it meet expectations? Was it able to convey the information most efficiently? Or are there loopholes or flaws that should have been mentioned?

Format of Presenting the Critique Paper

The logical format in writing a critique paper comprises at least three sections: the introduction, the body, and the conclusion. This approach is systematic and achieves a good flow that readers can follow.

Introduction

Include the title and name of the author in your introduction. Make a general description of the topic being discussed, including the author’s assumptions, inferences, or contentions. Find out the thesis or central argument , which will be the basis of your discussion.

The robbery example appears to be inappropriate to demonstrate this section, as it is so simple. So we level up to a scientific article.

In any scientific article, there is always a thesis that guides the write-up. A thesis is a statement that expresses what the author believes in and tries to test in his study. The investigation or research converges (ideally) to this central theme as the author’s argument.

You can find the thesis in the paper’s hypothesis section. That’s because a hypothesis is a tentative thesis. Hypo means “below or under,” meaning it is the author’s tentative explanation of whatever phenomenon he tackles.

If you need more information about this, please refer to my previous post titled “ How to Write a Thesis .”

How is the introduction of a critique paper structured? It follows the general guidelines of writing from a broad perspective to more specific concerns or details. See how it’s written here:  Writing a Thesis Introduction: from General to Specific .

You may include the process you adopted in writing the critique paper in this section.

The body of the paper includes details about the article being examined. It is here where you place all those musings of yours after applying the  analytical tools .

This section is similar to the results and discussion portion of a scientific paper. It describes the outcome of your analysis and interpretation.

writingacritiquepaper

In explaining or expressing your argument, substantiate it by citing references to make it believable. Make sure that those references are relevant as well as timely. Don’t cite references that are so far out in the past. These, perhaps, would not amount to a better understanding of the topic at hand. Find one that will help you understand the situation.

Besides, who wants to adopt the perspective of an author who has not even got hold of a mobile phone if your paper is about  using mobile phones to facilitate learning during the pandemic caused by COVID-19 ? Find a more recent one that will help you understand the situation.

Objectively examine the major points presented by the author by giving details about the work. How does the author present or express the idea or concept? Is he (or she) convincing the way he/she presents his/her paper’s thesis?

Well, I don’t want to be gender-biased, but I find the “he/she” term somewhat queer. I’ll get back to the “he” again, to represent both sexes.

I mention the gender issue because the literature says that there is a difference in how a person sees things based on gender. For example, Ragins & Sundstrom (1989) observed that it would be more difficult for women to obtain power in the organization than men. And there’s a paper on gender and emotions by Shields et al. (2006) , although I wouldn’t know the outcome of that study as it is behind a paywall. My point is just that there is a difference in perspective between men and women. Alright.

Therefore, always find evidence to support your position. Explain why you agree or disagree with the author. Point out the discrepancies or strengths of the paper.

Well, everything has an end. Write a critique paper that incorporates the  key takeaways  of the document examined. End the critique with an overall interpretation of the article, whatever that is.

Why do you think is the paper relevant in the course’s context that you are taking? How does it contribute to say, the study of human behavior (in reference to the bank robbery)? Are there areas that need to be considered by future researchers, investigators, or scientists? That will be the knowledge gap that the next generation of researchers will have to look into.

If you have read up to this point, then thank you for reading my musings. I hope that helped you clarify the steps in writing a critique paper. A well-written critique paper depends on your writing style.

Read More : How to Write an Article with AI: A Guide to Using AI for Article Creation and Refinement

Notice that my writing style changes based on the topic that I discuss. Hence, if your professor assigns you a serious, rigorous, incisive, and detailed analysis of a scientific article, then that is the way to go. Adopt a formal mode in your writing.

Final Tip : Find a paper that is easy for you to understand. In that way, you can clearly express your thoughts. Write a critique paper that rocks!

Related Reading

Master Content Analysis: An All-in-One Guide

Ragins, B. R., & Sundstrom, E. (1989). Gender and power in organizations: A longitudinal perspective. Psychological bulletin , 105 (1), 51.

Shields, S. A., Garner, D. N., Di Leone, B., & Hadley, A. M. (2006). Gender and emotion. In Handbook of the sociology of emotions (pp. 63-83). Springer, Boston, MA.

© 2020 November 20 P. A. Regoniel

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About the author, patrick regoniel.

Dr. Regoniel, a faculty member of the graduate school, served as consultant to various environmental research and development projects covering issues and concerns on climate change, coral reef resources and management, economic valuation of environmental and natural resources, mining, and waste management and pollution. He has extensive experience on applied statistics, systems modelling and analysis, an avid practitioner of LaTeX, and a multidisciplinary web developer. He leverages pioneering AI-powered content creation tools to produce unique and comprehensive articles in this website.

Thank you..for your idea ..it was indeed helpful

Glad it helped you Preezy.

This is extremely helpful. Thank you very much!

Thanks for sharing tips on how to write critique papers. This article is very informative and easy to understand.

Welcome. Thank you for your appreciation.

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How to write a critique

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  • How to write an annotated bibliography
  • How to write a case study response
  • How to write an empirical article
  • How to write an essay
  • How to write a literature review
  • How to write a reflective task
  • How to write a report
  • Finishing well

Before you start writing, it is important to have a thorough understanding of the work that will be critiqued.

  • Study the work under discussion.
  • Make notes on key parts of the work.
  • Develop an understanding of the main argument or purpose being expressed in the work.
  • Consider how the work relates to a broader issue or context.

Example template

There are a variety of ways to structure a critique. You should always check your unit materials or Canvas site for guidance from your lecturer. The following template, which showcases the main features of a critique, is provided as one example.

Introduction

Typically, the introduction is short (less than 10% of the word length) and you should:

  • name the work being reviewed as well as the date it was created and the name of the author/creator
  • describe the main argument or purpose of the work
  • explain the context in which the work was created - this could include the social or political context, the place of the work in a creative or academic tradition, or the relationship between the work and the creator’s life experience
  • have a concluding sentence that signposts what your evaluation of the work will be - for instance, it may indicate whether it is a positive, negative, or mixed evaluation.

Briefly summarise the main points and objectively describe how the creator portrays these by using techniques, styles, media, characters or symbols. This summary should not be the focus of the critique and is usually shorter than the critical evaluation.

Critical evaluation

This section should give a systematic and detailed assessment of the different elements of the work, evaluating how well the creator was able to achieve the purpose through these. For example: you would assess the plot structure, characterisation and setting of a novel; an assessment of a painting would look at composition, brush strokes, colour and light; a critique of a research project would look at subject selection, design of the experiment, analysis of data and conclusions.

A critical evaluation does not simply highlight negative impressions. It should deconstruct the work and identify both strengths and weaknesses. It should examine the work and evaluate its success, in light of its purpose.

Examples of key critical questions that could help your assessment include:

  • Who is the creator? Is the work presented objectively or subjectively?
  • What are the aims of the work? Were the aims achieved?
  • What techniques, styles, media were used in the work? Are they effective in portraying the purpose?
  • What assumptions underlie the work? Do they affect its validity?
  • What types of evidence or persuasion are used? Has evidence been interpreted fairly?
  • How is the work structured? Does it favour a particular interpretation or point of view? Is it effective?
  • Does the work enhance understanding of key ideas or theories? Does the work engage (or fail to engage) with key concepts or other works in its discipline?

This evaluation is written in formal academic style and logically presented. Group and order your ideas into paragraphs. Start with the broad impressions first and then move into the details of the technical elements. For shorter critiques, you may discuss the strengths of the works, and then the weaknesses. In longer critiques, you may wish to discuss the positive and negative of each key critical question in individual paragraphs.

To support the evaluation, provide evidence from the work itself, such as a quote or example, and you should also cite evidence from related sources. Explain how this evidence supports your evaluation of the work.

This is usually a very brief paragraph, which includes:

  • a statement indicating the overall evaluation of the work
  • a summary of the key reasons, identified during the critical evaluation, why this evaluation was formed
  • in some circumstances, recommendations for improvement on the work may be appropriate.

Reference list

Include all resources cited in your critique. Check with your lecturer/tutor for which referencing style to use.

  • Mentioned the name of the work, the date of its creation and the name of the creator?
  • Accurately summarised the work being critiqued?
  • Mainly focused on the critical evaluation of the work?
  • Systematically outlined an evaluation of each element of the work to achieve the overall purpose?
  • Used evidence, from the work itself as well as other sources, to back and illustrate my assessment of elements of the work?
  • Formed an overall evaluation of the work, based on critical reading?
  • Used a well structured introduction, body and conclusion?
  • Used correct grammar, spelling and punctuation; clear presentation; and appropriate referencing style?

Further information

  • University of New South Wales: Writing a Critical Review
  • University of Toronto: The Book Review or Article Critique

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Writing Curriculum

Analyzing Arts, Criticizing Culture: Writing Reviews With The New York Times

This unit invites students to write about food and fashion, movies and music, books and buildings for a global audience. It features writing prompts, mentor-text lesson plans and a culminating contest.

An illustration of five people with speech bubbles that say, from left to right, “Great!” “Great!” “Just mediocre” “Great!” and “Great!”

By The Learning Network

To learn more about all our writing units, visit our writing curriculum overview .

Before the digital age, review writing was largely the province of a small circle of elite tastemakers. That circle still includes critics at The Times, people like A.O. Scott or Pete Wells, who can make or break a movie or a restaurant with a single review.

But these days, all of us are invited to be reviewers — to rate and comment on everything from books and movies to yoga classes and electric toothbrushes. Though this kind of casual writing offers students real audiences and purposes, it often doesn’t require the type of close reading, deep thinking and careful craftsmanship more formal classroom writing demands.

In this unit, we hope to bridge the two, and prove to students that review-writing can be fun.

So why should your students read and write arts and culture reviews? How can doing so fit into your curriculum?

Well, first consider what students will need to know and be able to do:

A cultural review is, of course, a form of argumentative essay. Your class might be writing about Lizzo or “ Looking for Alaska ” instead of, say, climate change or gun control, but they still have to make claims and support them with evidence.

Just as students must for that classroom classic, the literature essay, a reviewer of any genre of artistic expression has to read (or watch, or listen to) a work closely; analyze it and understand its context; and explain what is meaningful and interesting about it.

It may go without saying that review writers have to wrestle with the same questions that writers of any text confront — how to compose in a voice, style, vocabulary and tone that fits one’s subject, audience and purpose. But when you’re writing a review, influencing people is the point, and our unit offers a built-in authentic audience. Beginning with our informal writing prompts and culminating in our review contest, we encourage students to post their work for a global audience of both teenagers and adults to read.

Our contest allows students to write about any work they like from any of 14 categories of expression — including movies, music, restaurants, video games and comedy. To participate, they’ll have to think deeply about the cultural and artistic works that matter most to them, then communicate why to others. That’s not just a skill they need in school, it’s a way of thinking that can serve them for life.

Like all the writing units we publish, this one pulls together a range of flexible resources you can use however you like. While you won’t find a pacing calendar or daily lesson plans, you will find plenty of ways to get your students reading, writing and thinking.

Here are the elements:

Start with four writing prompts that help students become aware of the role of the arts and culture in their lives.

Anatomy of a scene | ‘black panther’, ryan coogler narrates a sequence from his film featuring chadwick boseman as t'challa, a.k.a. black panther..

I’m Ryan Coogler, co-writer and director of “Black Panther”. This scene is an extension of an action set piece that happens inside of a casino in Busan, South Korea. Now, T’Challa is in pursuit of Ulysses Klaue, who’s escaped the casino. He’s eliciting the help of his younger sister, Shuri, here, who’s back home in Wakanda. And she’s remote driving this Lexus sports car. And she’s driving from Wakanda. She’s actually in Wakanda. T’Challa’s in his panther suit on top of the car in pursuit. These are two of T’Challa’s comrades here. It’s Nakia who’s a spy, driving, and Okoye who’s a leader of the Dora Milaje in the passenger’s seat in pursuit of Klaue. The whole idea for this scene is we wanted to have our car chase that was unlike any car chase that we had seen before in combining the technology of Wakanda and juxtaposing that with the tradition of this African warrior culture. And in our film we kind of broke down characters between traditionalists and innovators. We always thought it would be fun to contrast these pairings of an innovator with a traditionalist. T’Challa, we kind of see in this film, is a traditionalist when you first meet him. His younger sister, Shuri, who runs Wakanda’s tech, is an innovator. So we paired them together. In the other car we have Nakia and Okoye, who’s also a traditionalist-innovator pairing. Nakia is a spy who we learn is kind of unconventional. And Okoye, who’s a staunch traditionalist, probably one of our most traditional characters in the film, you know, she doesn’t really like being in clothes that aren’t Wakandan. And this scene is kind of about her really bringing the Wakandan out. One of the images that almost haunted me was this image of this African woman with this red dress just blowing behind her, you know, spear out. And so a big thing was, like, you know, for me was getting the mount right so that the dress would flow the right way. It wouldn’t be impeded by the bracing system she was sitting on. So that took a lot of time. We had to play with the fabric and the amount of the dress to get it right.

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While the teenagers you know may be able to talk passionately about music, movies, food and fashion, they may never have had formal practice in communicating the complex observations and analysis behind those reactions. It’s possible that they have also never been pushed to experience forms of art or culture that are new to them.

We developed these five prompts in 2019, but of course they can work for any year of this contest. Invite your students to read what others have previously posted, or contribute their own ideas.

Do You Read Reviews?

What Work of Art or Culture Would You Recommend That Everyone Experience?

What Work of Art or Culture Would You Warn Others to Avoid? Why?

What Could You Read, Listen to or Watch to Stretch Your Cultural Imagination?

What Was the Best Art and Culture You Experienced in 2020?

Whether they’ll ultimately participate in our contest or not, we hope your students will have fun answering these questions — and then enjoy reading the work of other students, commenting on it, and maybe even hitting that “Recommend” button if they read a response they especially like.

All our prompts are open for comment by students 13 and up, and every comment is read by Times editors before it is approved.

Continue with our lesson plan, “ Thinking Critically: Reading and Writing Culture Reviews. ”

This lesson, published in 2015 on a previous iteration of our site, helps students understand the basics.

What experience do they already have with reviews?

What is the role of criticism in our culture?

What are some guidelines for reading any review?

It can be taught as a whole, or you can just use the elements you need to get your students started.

Read mentor texts by adults and by teenagers, and try out some of the “writer’s moves.”

Making an argument via descriptive details with elizabeth, a winner of our 2019 student review contest takes us behind the scenes of her winning essay..

“There is no single term that can adequately define music sensation Lizzo, but bop star, band-geek-turned-pop-icon, classical flutist, self-love trailblazer and inclusivity advocate are all apt descriptors.” ”‘Lizzo in Concert, A Dynamic Reminder of the Power of Self-Acceptance’ by Elizabeth Phelps.” “The review is about a concert that I went to in Washington, D.C., and I went to see Lizzo.” “At her Washington, D.C. concert, she took the audience to church, and center stage, from a gold pulpit lit up with her name, Lizzo preached a message of joy, self-love and celebration.” “Yeah, I’d love to talk a little bit more about that theme of church that runs throughout. Can you tell me a little bit how you came up with that idea. And then how you developed it throughout the review?” “Sure. So, I came up with the idea for church because that’s really what the scene kind of looked and felt like the at the show itself, because she had like an actual podium and then there was like big stained glass windows looking things behind her. So it definitely had that vibe.” “Every ounce of her performance shone with positivity. Even before she appeared, the bright podium and large flats made to look like stained glass windows, gave the audience a taste of the revelry ahead.” “In history, like the Black church has been used to bring people together who may have been marginalized or diminished and passed aside, and I think that was kind of influenced by what was happening on stage, too, because it was another way that people were being unified and being uplifted, just like a church service would. So I tried to keep that theme going in a couple of ways.” “Then, clad in a silver leotard, she appeared at the pulpit and belted out the first song of her set: “Worship,” an anthem of confidence and self-love.” “An anthem, to me, is something, like the actual definition is a song that unifies a group of people for a particular cause. And I thought that that was so emblematic of what was happening because it was bringing everybody together, because the song is all about like, ‘worship me, I know I’m really awesome. And I’m really confident in myself.’ And I thought that it was a strong way to open with this anthem of like unifying all these people, being like, you can love yourself. I am confident in who I am.” “Therein lies the power of Lizzo’s music. It is a place for people of all colors, creeds and backgrounds to come together and celebrate self-acceptance and positivity.” “I really liked that line, too, because I thought it illustrated this unifying nature of what was happening, which I think is what the show was really about. It was about bringing people together and celebrating themselves and celebrating everybody’s differences and how they’re unique and important in their own way.” “The one thing that was very clear to me was the one thought that stuck in my head the whole time was I cannot let Lizzo down, I cannot do her dirty by writing a bad review, or a review that’s not up to the standard of what she has done.”

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Our related Review Mentor Texts spotlight 10 pieces, five by Times critics from across the Arts and Culture sections, and five by teenage winners of our previous student review contests.

Each focuses on key elements of this kind of writing, and aligns with the criteria in our contest rubric:

Expressing Critical Opinions: Two Movie Reviews

Learning From Negative Reviews: ‘Aquaman’ and Mumble Rap

Making an Argument via Descriptive Detail: Two Music Reviews

Using Sensory Images: Restaurant Reviews

Addressing Audience: Two Book Reviews

Like all our editions in the Mentor Texts series, these include guidance on reading and analyzing the texts themselves, as well as a “Now Try This” exercise that lets students practice a specific technique or element.

We also provide over 25 additional mentor texts that review both the popular culture students are likely already familiar with — from Ariana Grande to Apple AirPods — as well as other works we think they may enjoy. The goal of this series is to demystify what good writing looks like, and encourage students to experiment with some of those techniques themselves.

And, of course, we always recommend learning from the teenage winners of our previous review contests. You can find winning work from 2020 , 2019 , 2018 , 2017 , 2016 and 2015 to show your students, and invite them to identify “writer’s moves” they’d like to emulate.

Finally, in the past year, we have added three additional resources via our Annotated by the Author series. Invite your students to learn from Manohla Dargis, The Times’s co-chief film critic, as she reveals her writing and research process for her review of the 2021 film “Dune.” Or, have students check out the work of two winners of our 2019 Student Review Contest: Elizabeth Phelps, who writes about why going to a Lizzo concert is like going to church , and Henry Hsiao who explains how he writes with his audience in mind .

Take Advice from Times Critics

In 2020, we interviewed four New York Times Critics — A.O. Scott, Maya Phillips, Jennifer Szalai, and Jon Pareles — and asked them to share their review writing advice for students. Among their suggestions: express a strong opinion, use descriptive details and don’t be afraid to edit. In our post “ Want to Write a Review? Here’s Advice From New York Times Critics ,” we pair the critics’ video interviews with reflection questions for students to consider as they write their own reviews.

We also have an earlier handout that features insights from more Times critics.

Finally, you can watch an edited version of our webinar “ How to Teach Review Writing With The New York Times ” below.

Enter our Review Contest.

By the end of the unit, your students will have read several mentor texts, practiced elements of review writing with each one, and, we hope, thought deeply about the role of criticism in our society in general.

Now we invite them to play critic and produce one polished piece of writing that brings it all together.

Part of the reason we created this contest is to encourage young people to stretch their cultural imaginations. We hope they’ll choose a work that is new and interesting for them, whether that’s a book, a movie, a television show, an album, a game, a restaurant, a building, or a live performance. We hope they’ll take close notes on their experiences, and tell us about it engagingly, making their case with voice and style.

All student work will be read by our staff, volunteers from the Times newsroom and/or by educators from around the country. Winners will have their work published on our site and, perhaps, in the print New York Times.

Our Seventh Annual Review Contest runs from Nov. 10 to Dec. 15, 2021. Visit this page for all the details.

Critique of English Lesson Plan Report (Assessment)

Time of implementation, objectives of the activity, a refined lesson plan.

Teaching language and literacy is one of the crucial tasks of preschool teachers. Based on the knowledge obtained at a very young age, children will build their further education. Teaching a foreign language to preschoolers presents a lot of challenges to educators. Not only teacher’s knowledge and experience make up a beneficial teaching and learning environment. Lesson planning is an essential part of the successful implementation of education techniques and methodologies. A good lesson plan allows the teacher to manage his/her work successfully and make the lesson most beneficial for the pupils.

Taking into consideration the requirements to lesson planning, we can see that a suggested English lesson plan (see Appendix A) has some drawbacks which restrict it from fulfilling the objectives of foreign language teaching. The limitations of this plan will be discussed further, and a refined lesson plan will be proposed.

According to ACTFL’s Performance descriptors for language learning, timing is a crucial element of productive lesson planning (The American Council on the Teaching of Foreign Languages [ACTFL], 2012). A thirty-minute lesson is a good idea for such young learners as the K-1 class. The children in such a class are three years old, and a longer lesson might make them bored and discouraged in learning. However, this is probably the only positive thing concerning timing in the suggested lesson plan. Two major drawbacks are present in this plan: the first one is associated with the time assigned for the chosen theme, and the second one is connected with the time-division between various lesson procedures.

Let us consider the first problem. The theme of the proposed lesson is “Animals.” Besides, the teacher included the rainbow picture poster in the materials for the lesson, which means that he/she is planning to engage the children in coloring. Taking into consideration that the names of some animals are too difficult for Chinese children to pronounce, it seems that more than only one lesson should be dedicated to teaching this theme. It is noted by the scholars that the three-year-old children have a vocabulary of nearly one thousand words (Vukelich, Christie, Enz, & Roskos, 2015). However, such words as “hippopotamus,” “giraffe,” “elephant,” “flamingo,” and some others may present a serious difficulty for very young pupils. Therefore, I would propose to dedicate at least two lessons to this theme.

The second time-concerned drawback of the suggested lesson plan is its time division between the various lesson phases. Out of the total lesson duration, which is thirty minutes, fifteen minutes are planned for only one activity – learning the sounds ‘a,’ ‘b,’ and ‘c.’ Further, five minutes are allowed for learning the word ‘animals’ and learning the names of the animals each. With the three minutes allocated for greeting, this leaves us with twenty-eight minutes divided between various lesson procedures, two minutes allocated nowhere, and two tasks with no time division at all. Thus, the time division of the plant produces a lot of questions. First of all, it seems unnecessary to spend as many as fifteen minutes on a single activity. Three-year-old children cannot concentrate on one kind of activity for such a long time. They will soon feel bored, and the teacher will most likely lose their attention.

A good English lesson plan should incorporate such goals the fulfillment of which would lead to children’s acquisition of the core language learning activities: speaking, listening, reading, and writing. According to Byrnes and Wasik (2009), educators have a better chance to achieve their instructional objectives when they have a thorough comprehension of their pupils’ learning needs and possibilities as well as their state of mind. In our case, a teacher should realize the pupils’ learning goals in connection with their age specifications and the fact that English is their second language. The suggested plan includes the objectives aimed at the development of speaking and writing skills. The tasks “children can name all the animals in the zoo” and “children can sound out ‘a,’ ‘b,’ and ‘a’” are designed to improve the pupils’ speaking skills. The tasks “children can spell the word ‘animals’” and “children can write in a full sentence, ‘I have seen an X (animal name) in the zoo’” are supposed to develop the writing skills of the pupils. However, two important skills – listening and reading – are omitted in the plan. Furthermore, even though speaking and writing objectives are present in the lesson scheme, they are not designed properly.

What concerns writing objectives, they are too advanced for three-year-olds. The plan suggests that “children can write in full sentences,” whereas such young children do not have sufficient writing skills for fulfilling this task (Vukelich et al., 2015). The same comment may be given to the objective “children can spell the word ‘animals’.” K1 class pupils are too young to spell the words. Their writing skills are limited by tracing the separate letters or short words, but these pupils cannot write long sentences or spell words yet. Machado (2013) emphasizes that the schoolchildren should receive “input that is not only comprehensible, but that is just slightly beyond his or her current level of competence.” However, expecting class K1 to spell long words and write in full sentences cannot be considered “slightly beyond” (Machado, 2013). These expectations are much higher than the children’s competence level.

The lack of objectives dedicated to the development of listening and reading skills is another serious defect of the proposed lesson plan. As Machado (2013) mentions, a productive “early childhood curriculum for second-language” should present numerous and various possibilities for listening and speaking which provide scaffolding as a basis for the pupils’ learning process development (p. 109). Also, the author mentions that the curriculum has to stimulate the pupils “to take risks while speaking” (Machado, 2012, p. 109). While speaking opportunities are present in the lesson objectives, listening skills are not given proper attention.

Reading might present difficulties for three-year-old children, but the teacher should encourage this activity. Unfortunately, there are no reading objectives indicated in the plan, which is a crucial mistake. Castro, Páez, Dickinson, and Frede (2011) remark that reading occupies the major place in constructing the pupils’ academic accomplishment. Castro et al. (2011) consider reading an essential instructional objective in preschool education. The authors suggest that reading comprehension is easier to attain when the children can decode the unfamiliar lexemes. To make the process of decoding simpler, Castro et al. (2011) recommend developing phonemic awareness – “the ability to attend to phonemes, knowledge of letters, and the association between graphemes and phonemes” (p. 15). As we can see, the suggested lesson plan does not provide any objectives connected with the development of phonemic awareness or decoding skills.

Another general comment about the lesson plan’s objectives is that they all concentrate on the form (“name the animals,” “spell the words,” “sound out the letters”) rather than meaning. Meanwhile, for the children at the age of three, the meaning is much more interesting than form. Therefore, the lesson should be more concentrated on everyday activities and not on the formal tasks which cause the lack of interest in the lesson. Paradis and Kirova (2014) suggest that to encourage the children’s connections between school and home activities, the teacher needs to explore the pupils’ “home language environment” (p. 342). Such exploration, according to the scholars, will make it possible to anticipate the individual divergences in pupils’ English mastery (Paradis & Kirova, 2014). Huennekens and Xu (2010) also note the significance of home reading experience in the process of acquisition of a second language. Moreover, the authors remark that home settings and the child’s behavior and desire to learn are closely associated (Huennekens & Xu, 2010). Thus, the plan’s objectives fail to demonstrate the concentration on meaning, which makes the plan not suitable for the discussed age group.

As well as the objectives, the procedures presented in the lesson do not incorporate all the necessary activities. The plan consists of six activities. The first one is greeting, which is rather proper for the beginning of the lesson. However, the second thing a teacher suggests to do is to learn the word “animals.” This sequence does not seem suitable, as a significant element of a preschool lesson plan is missing – the warm-up activity. Three-year-olds need to move to let some of their energy burst out and keep them attentive at the lesson. Thus, a warm-up should be included in every lesson. This procedure should combine the learning element with the active element (for instance, chanting or singing and repeating some words while making some energetic movements).

The next few procedures are rather boring for such young pupils: learning the words, asking and answering the questions, and spelling. Such procedures should be interrupted by some more exciting tasks to keep the children focused on the lesson.

The lesson plan is not written logically. In the middle of the lesson, the teacher explains the home task. This is a bad idea since the home task should be explained at the end of the lesson. Finally, the lesson lacks the evaluation element, which is also a rather negative feature. Evaluation is an essential part of every lesson.

Dixon et al. (2012) note the importance of dedicating enough time to cultivating children’s literacy. The authors emphasize the exceptional role of designing a consistent lesson plan incorporating all the necessary procedures for the development of pupils’ literacy and other important skills (Dixon et al., 2012).

Another flaw in the proposed lesson plan is the absence of such vital elements as evaluating the pupils’ achievements. Assessment plays a crucial role in the lesson as it allows encouraging the children for future endeavors and raises their self-esteem (Machado, 2013). It is necessary to spend a few minutes at the end of the lesson telling the children what they did best and what they need to practice more. As research results show, pupils who have a positive disposition and a strong inspiration are more likely to succeed in second language learning (Dixon et al., 2012). The teacher can emphasize the achievements of the particular pupils or the whole class. Finally, the evaluation makes it possible for even very young children to learn about the lesson procedure. If a teacher pays attention to evaluation at the end of every lesson, the children will realize the structure of the lesson better. Therefore, a crucial mistake of this lesson plan is the absence of an evaluation procedure in it.

The analyzed lesson plan has some positive features but also lacks many crucial elements. Not all of the activities have been included, the timing is incorrect, the children’s age peculiarities have not been taken into consideration while creating some tasks, and little attention has been paid to make the lesson not only informative but also active and entertaining. A refined lesson plan divides the topic into two lessons, enriches it with entertaining and educational activities, includes all four literacy skills, and aims at developing the pupils’ imagination and creativity while teaching them a foreign language.

  • The age group of class: K1
  • Background of the children: All of them speak Cantonese as their first language
  • Number of children: 15
  • Activity Venue: Classroom
  • Total time of implementation: 2 days (30 minutes each day)
  • Objectives of the activity:
  • Knowledge: Children can name the animals in the zoo and on the farm;
  • Skills: Children can chant small chants with letters ‘a,’ ‘b,’ and ‘c’;
  • Children can trace the letters and insert a missing letter in a word;
  • Children can read short words after learning to recognize the letters from the chants;
  • Children can pretend to be different animals and guess what animals other children are.
  • Attitude: Children enjoy roleplaying and chanting, they love to be active at the lesson.
  • Materials: paper, pencil, word cards (color), picture cards (animals)

Procedures:

Greeting (2 minutes)

The teacher invites the children to sing a “Good Morning” song.

Warm-up (3 minutes)

The teacher invites the pupils to dance to a rhythmic song and repeat the final word of every line (for example, “we are going to the ZOO/lots of fun for me and YOU/we are traveling by BUS /do you want to come with the US?”).

Listening and speaking (5 minutes)

The teacher invites the pupils to listen to two animals’ names. Then he/she divides the class into two groups and invites each group to repeat one animal name. The group which says the name louder wins.

Speaking and reading (6 minutes)

The teacher invites the pupils to read short words (dog, cow, horse, cat, duck, fish). They repeat them together and clap after each word. Then, the teacher chooses to separate children to read words.

Reading and writing (6 minutes)

The pupils read small chants following the teacher (for example, “B, B, big brown bird”). Then they do two writing exercises: 1) they circle the letter ‘b’; 1) they fill in the missing letter ‘b’. Similar exercises are created for practicing sounds ‘a’ and ‘c’.

Speaking and guessing. Game time (5 minutes)

The teacher chooses a child and shows him/her a picture of an animal. The child has to pretend to be that animal (move like it, produce a sound), and other children need to guess what animal it is. The one who guesses first is the next one to pretend.

Explaining the home task (1 minute)

The teacher asks the pupils to repeat the chants at home with the help of their parents; the children are required to draw their favorite animal or bring a photo with it.

Evaluation and summing up (2 minutes)

The teacher sums up what achievements the children have gained at the lesson and praises them for having done a great job. He/she reiterates how important the topic is and how good it is to remember the new words and sounds. Together, the teacher and the pupils sing the “Goodbye” song.

The teacher invites the pupils to dance to a rhythmic song and repeat the final word of every line (for example, “we are going to the FARM / there are cows in the BARN/pigs and horses, cats and DOGS / we can hear little FROGS”).

Listening and speaking. Revising colors (5 minutes)

The teacher invites the pupils to listen to two animals’ names. Then he/she shows a card with the color and asks the children to choose the animal corresponding to that color.

Reading and speaking (5 minutes)

The teacher invites the pupils to read animal names (lion, pig, hippo, giraffe, horse, cat, dog). They repeat them together and clap after each word. Then, the teacher chooses pupils to read words one by one, and other pupils to say whether the animal lives in the zoo or on the farm.

Reading, writing and matching (7 minutes)

The pupils read animal names in one column and colors in the other. Then they have to trace the first letter in every word and match the animals with colors.

The teacher divides the pupils into two teams. Then the teacher asks a pupil from one team to describe his/her favorite animal (big/small, zoo/farm, good/.bad, color). The other team tries to guess what animal is being described. In the end, the child shows the picture or a photo of the animal, and the team gets a score if they guessed correctly. Then, the teams switch positions.

The teacher asks the pupils to do small writing and reading task at home with the help of their parents: they are given cards with animals’ names with missed letters ‘a,’ ‘b,’ and ‘c’ (for example,…at (cat), …ow (cow), r…t (rat) and are required to fill in the letters. The reading task consists of two-word phrases which the children are required to read with their parents and repeat (green frog, big horse, clean pig).

Byrnes, J. P., & Wasik, B. A. (2009). Language and literacy development: What educators need to know . New York, NY: The Guilford Press.

Castro, D. C., Páez, M. M., Dickinson, D. K., & Frede, E. (2011). Promoting language and literacy in young dual language learners: Research, practice, and policy. Child Development Perspectives, 5 (1), 15-21.

Dixon, L. Q., Zhao, J., Shin, J.-Y., Wu, S., Su, J.-H., Burgess-Brigham, R.,… Snow, C. (2012). What we know about second language acquisition: A synthesis from four perspectives. Review of Educational Research, 82 (1), 5-60.

Huennekens, M. E., & Xu, Y. (2010). Effects of a cross-linguistic storybook intervention on the second language development of two preschool English language learners. Early Childhood Education Journal, 38 (1), 19-26.

Machado, J. M. (2013). Early childhood experience in language arts (11th ed.). Boston, MA: CENGAGE Learning.

Paradis, J., & Kirova, A. (2014). English second-language learners in preschool: Profile effects in their English abilities and the role of home language environment. International Journal of Behavioral Development, 38 (4) 342-349.

The American Council on the Teaching of Foreign Languages. (2012). Performance descriptors for language learners . Alexandria, VA: ACTFL.

Vukelich, C., Christie, J., Enz, B. J., & Roskos, K. A. (2015). Helping young children learn language and literacy: Birth through kindergarten (4th ed.). Boston, MA: Pearson.

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IvyPanda. (2024, February 19). Critique of English Lesson Plan. https://ivypanda.com/essays/critique-of-english-lesson-plan/

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Lesson Plan Critique

This critique is based on a time specific daily lesson plan which is conducted by Dahyun Kim who teaches English Language Arts. It is accessible through teach-nology website (See Appendix A). This lesson is designed for grades 7 and 8 students to develop the listening and speaking skills of these students. In General, the content and the skills of this lesson are appropriate for the targeted students since they deal with everyday real life situations. Thus, students are engaged and motivated through a meaningful social context in which they work in pairs or in groups to help each other learn. Moreover, ESL learners are inclined to improve their listening and speaking skills.

This lesson covers most of the lesson planning steps starting with general and specific objectives, introducing the topic, organizing learning, ending with evaluation of students’ performance. The teacher starts the plan with a general goal (help the students when they shop for their groceries). Then, he forms general objectives (understand shopping expressions) and specific objectives (solve comprehension questions, speak using the learnt expressions).

In the “Introduction” phase, the teacher introduces the lesson to the students through checking their prior knowledge by asking them about the expressions they use for shopping. In the “Development” phase, he builds on their prior knowledge by showing them some other expressions which are focused on throughout the listening conversation. In the “Practice” phase, the teacher asks the students some comprehension questions to check for their understanding.  In the final “Evaluation” phase, students are divided into groups and each group is given a conversational situation that can take place in the market. The students are engaged in a role play activity to act these conversations out and the teacher observes the students and gives them feedback.  Students are assigned homework (creating a similar conversation) to consolidate learning. Finally, the teacher depends on his own criteria to evaluate students’ receptive and productive skills (i.e. listening – speaking).

Teaching Strategies

The teacher uses the Teacher-Directed method in delivering this lesson. First, he identified a topic. Then, he specified the general and specific objectives. After that, he selected a good example. Finally, students are given an oral activity to help them practice the expressions they heard in the listening conversation. This final step links the lesson to the Communicative Language Teaching Approach which emphasizes on the importance of communication in acquiring language. Students in this lesson learn the language by (a) using it to communicate with each other, (b) engaging in authentic and meaningful communication, and (c) focusing on fluency. This way they can achieve the level of communicative competence they aim at.

The teacher has built this lesson on two notions: ” Situated Learning ” through imagining that the students are shopping in a market place and “Social Learning” through working in pairs and groups. Both notions are based on the work of the Russian cognitive psychologist Vygotsky who believes that skills are learned through a social process while students are interacting with one another ( Slavin 2009).

The teacher also uses an element of the Audio Lingual Method which is also called “aural-oral” method because students listen first to a conversation before they are asked to speak following a certain level of accuracy. Moreover, the teacher gives them the expressions they are going to use in their speaking activity which makes students’ interaction with the language controlled. Therefore, the lesson is also reflecting an element of the structural linguistic and behavioural psychological view of language learning.

Lesson Plan Examination

 First, the topic and the content of the lesson are motivating to the students since they deal with both receptive and productive skills that are practiced in social interactive situations. Second, the objectives reflect the content of subject matter, the behavior of what the students will do, the conditions under which the students will perform the behavior but they don’t reflect the criterion of students performance. Third, the teacher builds on the student’s pre-requisite knowledge of the language so as to use it in his lesson. Fourth, assessment techniques are insufficient since the teacher depends only on comprehension questions to check their listening skills and his personal observation of the students to check their speaking skills.  Fifth, the teacher uses a variety of approaches and methods to enhance his students’ listening and speaking skills yet most of them are Teacher –Directed using a PPP model of Presentation, Practice, and Production in a controlled way. Sixth, the activities are inadequate and do not reflect higher order thinking skills since they focus on practicing direct given language expression not creative ones.  Seventh, the time of each phase is not allotted in the lesson plan and this might hinder the achievement of learning outcomes. Eighth,   the learning outcomes are limited to answering some comprehension questions and speaking in a role play activity. These outcomes support the listening and speaking language skills but they fail to enhance the critical thinking skill which is a major cognitive skill.

Suggested Modifications

Modifying the approaches and methods of this lesson can result in a better learning environment. For example, the teacher can use a Student- Centered teaching and learning method such as adopting (TBLT) which is considered as an appropriate teaching approach that would best suit this lesson. (Nunan 2004) explains that “Task-Based Language Teaching involves the principle that language can be learnt through students completing tasks and learning to communicate through interaction in the target language.” In this situation, tasks help the learners practice language input (listening) and output (speaking) in a meaningful way through a social context (group work).

The teacher could give the students a pre-task activity to plan their shopping conversation. Then he gives them a main task of watching a video about shopping so as to analyze the language in the video and discuss the positive and the negative points in pairs collaboratively (think pair share). After that, the teacher monitors and gives students scaffolds to help them during the post task phase of training where the students practice the language they have heard and discussed earlier. Finally, every group acts out its conversation to be recorded and evaluated by the teachers and the students through checklists and rubrics to enhance their self- assessment skills.

Cooperative learning strategies can be used effectively in this lesson. “Cooperative learning strategies are specifically designed to encourage students to work together and help each other towards common goals.” (Jacobson 2005) Therefore, students can work in groups, use their own resources and develop higher order thinking skills and enhance their listening and speaking skills at the same time.

To conclude, adopting a TBLT method as well as Cooperative Learning Strategies would result in a radical change for the teaching and learning of this lesson. Consequently, it will help the students have real outcomes that will be assessed in a way that focuses on both the process and the product of learning.

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ENGLISH FOR ACADEMIC AND PROFESSIONAL PURPOSES Quarter 1 – Module 4: Writing the Reaction Paper/ Review/ Critique

This is where you start to do critical reading and write your understanding and reaction to what you are reading. This will help you appreciate the texts you are reading and will also develop your critical thinking skills.

These competencies are covered in the following lessons:

  • applies the principles of writing effective reviews and critiques (CS-EN11/12A-EAPP-Id-f-17) , and
  • writes an objective/balanced review or critique of a work of art, an event or a program (CS-EN11/12A-EAPP-Id-f-18)

Objectives:

Here are the things that you are expected to learn at the end of this module:

1. identify the contents of a reaction paper, review or critique,

2. express ideas objectively, and

3. write a balanced reaction paper/ review/ critique.

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Free Essay On Lesson Plan Critique

Type of paper: Essay

Topic: Teaching , Computers , Students , Planning , Goals , Writing , Thinking , Reflection

Published: 12/06/2019

ORDER PAPER LIKE THIS

The lesson being critiqued is titled “Draft Letters: Improving Student Writing Through Critical Thinking” from the website Read, Write Think. This lesson is suitable for grades nine through twelve in the United States system of education. Materials are not specified in this lesson plan. There are handouts for the teacher to copy to give to the class. All of the materials the teacher will need are included with the lesson plan. The materials the students need for this lesson are self-explanatory. They will need something to write with and a piece of paper to write on. Another option offered by this lesson is a computer program called the “Letter Generator” that walks students through the formalities of writing a letter and allows students to compose their letter on this program. Use of this computer program assumes computers and printers are available to the students. Lesson objectives are specific. They are measurable as the students' writing may be measured against basic writing and grammar conventions. A review of someone’s writing is also somewhat subjective. What appeals to one reader may not appeal to another reader. Fifty minutes are allotted for this lesson plan. Some students may be able to complete the lesson in this time and others may need a little longer. It is a writing assignment and some students write faster than others.

The lesson plan itself is very detailed. Any teacher should be able to follow the instructions. The lesson can be used with almost any writing assignment as this lesson teaches students how to write a letter to their teacher commenting on their own writing on an attached assignment.

This particular lesson is written for NCTE/IRA National Standards for the English Language Arts. The NCTE is the National Council of Teachers of English. IRA stands for the International Reading Association.

The sample draft letters and reflection questions support the lesson contents. Teachers and students are given the sample draft letters and the reflection questions. Both of these documents serve as guides to the students in completing their letter assignment.

The activities are relevant to the assignment and to the lesson objectives. If the students follow the directions on the reflection questions handout, the students will be successful in their assignment. The sample draft letters show the students a good example of the completed assignment and an example that is of lesser quality.

The assignment is relevant to the writing process and is adequate to measure attainment of the lesson objectives. The performance criteria are specified. The students will know what is expected of them by viewing the good example of the draft letter and by reviewing and answering the reflection questions.

No assessment sheets are provided nor are any necessary for this assignment. Teachers can simply advise the students to answer the reflection questions. When teachers grade the assignment all they have to do is compare the individual student’s letter to the reflection questions for completeness and quality of the letter.

This is a creative assignment. The students are asked to evaluate their own writing and share their evaluation with their teacher. This encourages critical thinking and good writing skills. This is a lesson I would enjoy trying with students in either senior high or TESOL classes.

Gardner, T. (2011). Draft letters: improving student writing through critical thinking. Read Write Think. Retrieved from http://www.readwritethink.org/classroom-resources/lesson-plans/draft-letters-improving-student-902.html?tab=4#tabs

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    Lesson Plan Critique Background This critique is based on a time specific daily lesson plan which is conducted by Dahyun Kim who teaches English Language Arts. It is accessible through teach-nology website (See Appendix A). This lesson is designed for grades 7 and 8 students to develop the listening and speaking skills of these students.…

  19. ENGLISH FOR ACADEMIC AND PROFESSIONAL PURPOSES Quarter 1

    Objectives: Here are the things that you are expected to learn at the end of this module: 1. identify the contents of a reaction paper, review or critique, 2. express ideas objectively, and 3. write a balanced reaction paper/ review/ critique. EAPPG11_q1_-mod4_writingthereactionpaper_v2

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    Here follow my Lesson Plan Critique: The identification of ELP standards that apply to the lesson: Learning Objective: Students will be able to ask and answer who, when, where, how, why, and what questions to show understanding of key details in a text. EL Proficiency Level: beginning/intermediate.

  21. Example Of Lesson Plan Critique Essay

    The lesson being critiqued is titled "Draft Letters: Improving Student Writing Through Critical Thinking" from the website Read, Write Think. This lesson is suitable for grades nine through twelve in the United States system of education. Materials are not specified in this lesson plan.