![]() ![]() While my skimming and scanning skills are_, I can see with some improvement, I can _. ![]() I could use scanning more effectively by _. Second, I currently scan texts when I want to. This works well for me, but I think if I alsoadd _ to my skimming, I. I also use skimming when I am reading _ to _. First,I currently use skimming in my school work to _. I can improve my use of skimming and scanning in my school work and my day-to-day reading. Here’s a framework to help you organize your paragraph: Begin with a clear topic sentence and follow with examples of how you skim and scan currently and how you could improve each. Then, explain how you could use skimming and scanning more effectively in either or both. Written Reflection on Skimming and ScanningĮxit slip:On a separate sheet of paper, write a paragraph that explains how you use skimming and scanning in your daily life and in your academic work. Don’t read the text again Just search these two key. To answer it, you should scan the text for words 10,800 and 15,000. ![]() And this question, unlike the previous one, requires specific detail: amount of money. Note, though, that this poem about agreeable balance makes a kind of music out of the sentences, often balanced agreeably around a semi-colon, instead of the syllables that scansion measures.Įdwin Morgan's 'Song of the Loch Ness Monster' presents a great challenge to most attempts at scansion.\( \newcommand\) Like on a real IELTS Reading test, you have to read the text and answer the questions below. ![]() Some poems, such as D J Enright's 'Dreaming in the Shanghai Restaurant', avoid even accentual regularity. To see Beer's first stanza displayed thusĭemonstrates its regularity and variations, and helps a reader or listener understand why those "last sparks" are so central to this stanza - the moment of irregularity within what is otherwise regular makes them stand out for the ear.īy contrast, scanning Alan Brownjohn's 'Incident on a Holiday' reveals that, although he largely eschews a regular foot, he does maintain a five-stress line in the first stanza, and in most of the poem, thus giving the poem something of the irregular rhythms of prose, while the accentual metre simultaneously keeps a form of regularity. What this process achieves is a diagrammatic representation of the metrical effects of a poem. The third line, however, introduces a variation, holding back its first stress for an extra syllable - "at the last sparks", which can be scanned | uu | // |, after which the iambs pick up again until the end of the stanza. With x being used as a 'missing' syllable - like a rest in music - this line can be scanned as | x/ | u/ | u/ | u/ | u/ |, still maintaining the iambic pentameter. The next has clear stresses on "one", "clock", "looked" and "round", which is only four at first glance, but there is also a lighter stress on the "for" at the start of the line, particularly as the following "the" is less stressed. The first line has stresses falling thus: "aRRIving EARly AT the CEM e TERY", or u/u/u/u/u/, which sets up a clear pattern, | u/ | u/ | u/ | u/ | u/ |, an iambic pentameter. Patricia Beer's poem 'The Conjuror' might be taken as an example. 'Mark' can be taken to mean both 'notice' and 'annotate', the latter often done with a u for an unstressed syllable and a slash, /, for a stressed one. Scansion is the process of marking the stresses in a poem, and working out the metre from the distribution of stresses. ![]()
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