 Welcome, that's the first thing to do is like I looked and said say welcome to everybody Okay, so welcome welcome to UT Everybody made it from wherever you're coming from and we're gonna start It says introduction and welcome, but I'm actually gonna flip it around first the welcome I've already said welcome and then the introduction you're gonna introduce yourselves and I've noticed you're already chatting amongst yourselves So I broke people up into tables because otherwise you were in these these you know rows And we're not gonna do it like that this year We're gonna make sure that you have you're working when small groups and this facilitates it It's a lot easier to move around So if you think this is my table, no, it's not it's not your table. It's our table. You're gonna move around You'll do a lot of peer review and we'll we'll make sure that this is more of an animated workshop And it's a workshop because you're gonna produce something there are deliverables here. You're gonna work We're gonna get you to work But so let's start off Next slide, please. Let's start off with a real quick introduction around We're not gonna go through and everybody stand up. Well by the end of all this workshop You'll be able to you'll know who we all the different people here But let's just talk about where introduce yourself to your table mates Your name your affiliation if you have an institution Languages interest really quick though. I'm gonna give you a minute per person. So boom boom boom and Here's a big word your hopes and X your dreams and expectations For this little this workshop. What are you bringing here? Usually when expectations aren't met people get grumpy. So it's kind of good for me to figure out, okay What's on your radar as you come here? What do you think is gonna happen? What are your expectations and then real quickly since your language teachers and you know how to do this This is a small group activity. I'm gonna ask one person from the table Okay, who are these people and some of your tables you are kind of anemic They're only two people there. You might want to find another table and that would facilitate it Yeah, so like four is a good group those two people. Yeah, that's a table Okay, so on your mark get set go Okay, that's good enough. That's good enough. You know some you know your table mates a little bit now That's that's all I want. This is called an icebreaker. You've already broken the ice I'm excuse me. I'm dating them. I'm eating my breakfast taco. Welcome to Texas I'm so what I'm gonna do is ask You know how we do this we have a spokesperson from your table So instead of like having going around the table and introducing everybody. How about let's just do this While we're some of the answers to this hopes and expectations I'm really interested in that and Corey is like what I don't remember what people said Oh, you didn't get to that I Told you to move along fast like okay. You have one minute to do that quickly. So Let me start Chantel you were at this table. Okay. Do you remember what some of their hopes and expectations were? Okay, yes, all right, you're gonna tell me if I get it wrong, right? Yeah, okay Give me kind of a signal Some of their hopes and expectations which I think will become relevant tomorrow as well We're about professional aspirations. So they're all Working on our hoping to work on soon PhDs and this ties in potentially to some of the work that they'll be doing in those. Yeah That's good because some of these expectations will get met. We'll try really hard to meet that one This is very much about professional development getting something to put on the CV Thinking about your professional trajectory all of that's good stuff Jenika, what did you guys talk about? This table it was also very professional, but it was we had kind of a mixed bag of people who have Taught before and who have taught in different types of scenarios And so everybody I think it's pretty excited of to kind of add some Add some new things to their arsenal of things that they can integrate into their own teaching Good Yeah, we'll be I mean flight is very flexible you can use it just to bet it's a land rover you can drive it across any terrain Cory now have you figured out the answers? You got something to say Yeah So personally I found it really challenging to find texts that would work to fit the flight model and so one of the the hopes that I have with this workshop is to have some some better ideas and strategies for tech selection and Especially for text that may not necessarily look on the surface like their literary writer creative So and and a lot of that is video for example So that's that's one of the sort of great that I have That will be definitely we'll be talking about the literary and the everyday and how to find text that really make that concrete Mandy you had a bunch of people and they were standing up to We had up and moved around we followed the directions But we I think we had some diverse hopes and expectations within our group some of us were very Unfamiliar right with flight and even just all the acronyms that get you know get thrown into what we do And so just really starting to understand what that is and how we can apply it to our contexts And and then I will say I was just really looking forward to kind of getting my hands dirty as I said It's been a while since I've really been involved with like actually creating lessons So I'm excited for that good We will meet that expectation Alessandra. Who are these people? What were their expectations? Well, this is Maggie. This is Liz and this is Sarah and We're our interests where it was curriculum development as well was also literacy based OER and also looking at on peer review and feedback Ding ding ding. Okay. Good Molly yes I'm not from UT Austin. I'm like a lot of people here, but what we talked about most people are not from UT Austin here By the way, oh, no, no, no, no, we're from all over. Oh, you just knew people. I'm from UT Austin But these people are from all over great. We just talked a little bit about incorporating the approach of this approach into Teaching and different people are long at a different point in the continuum Does some people learning more about it other people getting back into teaching? looking at what other people are doing with it and I've been doing a version of this I guess you could say but now I want to flesh it out a lot more and I can put names to things. So Great. Yeah, so it's just about using it our everyday lives People are at different points and that's okay. Don't worry about that Sean tell this was your table right you were talking. Yeah, and then you guys are with that. Yeah. All right That's everybody So I want to tell really quickly because I just have a couple minutes here that there's a story behind how flight really developed And I have my props here these the literary in the everyday was a kind of a concept that Joanna and Joanna and Chantel there are my two presenters. So Carl Joanna and Chantel, you know, we'll just use first names here Don't worry about last names She was really hoping she was using another OER OER simply means an educational material That carries an open license. We'll be talking about open licenses because open licenses set your ideas free We want to be able to share ideas because good ideas Magically lead to new ideas and it keeps on going. So ideas produce ideas produce ideas. It's called semeosis It just keeps on going meaning making But there's a problem with copyright which locks things down So we want to unlock that and create this infrastructure for sharing materials and really sharing ideas That's OER. Okay, so we we created here many years ago of a textbook a curriculum We made it free and available for everybody and people started adopting it and using it as they would And she discovered that there weren't a lot of what she felt were text That promoted the kind of literary dimensions that she was looking for and textual analysis that she wanted to bring into the classroom She said to me that she she called me up and said can I add on to this? I said, of course, it's an OER You're free to do that. I'd love it. And so while we have a lot of readings they're kind of more journalistic in orientation and She then had this vision of with each chapter extending it and having something along the lines of the literary and every day So she ran with that concept and we'll be talking a lot about that concept What is this in interesting intersection of literary text? Not necessarily canonical texts Not even what we would consider literature, but something that has a literary Ness about it that extends some kind of of a rule in an interesting way But it's found in everyday language, which is then easy for beginners Because what we're trying to do is essentially what she was trying to do is take the bifurcated model of lower division and upper vision and Blend them together so that people can actually start to analyze text That's what it's all about from the very beginning to the very end because that's what we do as humanists We study text and that's what we do is language users language is a text and we make meaning with text So that's the big ideas and it became concrete She produced this what looks like a textbook, but we're calling it an OER It comes in a goo as a Google doc so you can download everything you can change the order You can rearrange the activities and so forth. Okay That's in French so yeah, that's the whole that was the it started with French But of course it's a great idea that can be borrowed into any language So it's a fully open textbook as I said it it is available online at Lulu comm and you can you can buy it? $20 or you can have it for free and in the digital form and Google Docs because most people know how to play around with a Google doc So we're also Some of you said for your expectations and hopes you're framing it in terms of professional development So we're talking about creating materials and we want to privilege that We want to make sure that people get credit for that in an education. We give something called attribution. That's very important We want citations and so forth and you want to work on something, but you want to get value from that work So a lot of times textbook publishing doesn't count a lot in the sphere of Academics we think of journal articles or we think of books monographs But it takes a certain level of expert expertise to write a textbook people who've tried I think it's easy discover It's not that easy and so we wanted to make sure that we're creating this kind of infrastructure to give people credit and Actually to promote the value of of this enterprise because it is a an academic intellectual Professional enterprise. So that's also part of flight. We'll be talking about that Open textbook library, which is a really great Organization it's headquartered in Minnesota at the University of Minnesota Twin Cities There are lots of textbooks open textbooks that people are wanting to adopt, but they don't know about the quality So if you go here Let's see Here we are now on the internet if I type in French if you're looking for a textbook in French. Oh, well, France anti-active. I just showed you that And by the way, this is not a perfect search engine because I don't know what the introduction of probability is doing in that list Interesting interesting, but okay. We have the literary in the Quotidien that's the literary in the everyday Importantly here now we have an infrastructure not only for finding it, but there are reviews So we have Nathan Rablet. That's a great name for a French professor by the way college of William and Mary He's an assistant professor. He reviewed the textbook And I'm not going to read all of these but you can see that there's kind of an organization here They asked him to rate it according to these various criteria this starts to look like a legitimate enterprise because it is and This is something that people can put on the resume and be proud of and that kind of thing so Professional organizations have a way of showing their value and this is what we're trying to work with other organizations To get to lend legitimacy to what we're doing So but the end of this project we hope that you will be on your way to publishing something and that could be a line on your CV Okay, so in addition to This great organization called the open remember remember this open textbook library We'll be talking about a lot of repositories places to find open materials We have this thing Which is our website for this project and it's been going on now for a couple of years I wanted to draw your attention to if you go to the how-to button here at the bottom. It's flight resources Click on flight resources and We have the workshops and this is this year 2018 teaching by design Everything that we're going to be using all the handouts everything is right there So when you go back to your institutions and you want to share these great ideas with your colleagues take them to this Okay, so everything that we will be giving you throughout the next two days. You can find right here the documents Okay, I Don't want to step. I'm already five minutes over time and I want to make sure that Joanna has lots of Time You got time. Okay, I want to then so since I have a little bit of time I want to show you some of the things that make I think there are the important components of the flight project and I was talking about legitimacy and taking kind of an academic approach to materials production We have an editorial board Which is very important and we've joined join forces also This year and going forward with a a USC which is the American Association of University Supervisors and coordinators of foreign language programs. It's ridiculous acronym essentially, you know 300 Members who are people in charge of language programs throughout the country so applied linguists But the applied linguists is a pretty heterogeneous group so people coming from literature or for linguistics or for culture studies And what we're trying to do is have a group of editorial board members So here are people you'll recognize some names in French and in different languages who will review the lessons that people produce Because it's not just creating a lesson and putting up on the internet That's not probably worthy of a line on your CV People have all kinds of stuff on the internet Fred's cheese page Just Fred know anything about cheese. We don't know So there is a process an editorial process That we're gonna explain what we'll call this the life cycle that we it's actually called the OER Life cycle OER is a thing now it stands for open educational resources But there's a life cycle and we want to show you that then the different stages along the life cycle Because your cool idea will then just lead to other cool ideas. Okay, but we want to then create these Objects these these lessons that will go into an archive hosted here at flight And then people then can take your object and then they just keep on going with it. Okay, that's the concept But we don't want it full of junk. There are a lot of repositories out of out there full of junk, right? And so that's where Editorial board comes in so when you get your lesson that comes out of this creative process And it's ready to go and you've taught with it Then you send it to you send it to us and we send it out for review Then it will be reviewed by professors around the country. They give you feedback You incorporate the feedback and then when we've decided it's ready to go it gets published So there is and by the way, it's not a blind peer review process Which is typical in publications of academic and academic journals This is a community. We're trying to create so we don't want to be anonymous to each other We want Kate Paizani at Carla at Minnesota to give you feedback and to know it's Kate because you can then Have a discussion with Kate You know, it's really great when you when you get in Something that's really that you've written a manuscript and then people have a lot of stuff to say But sometimes you want to say something back to the to your reviewer You don't understand it or you disagree with it and that's the negotiation And this should be a then a collaborative and collegial enterprise. So it's not quite we're trying to take the best of different Framework so the best of a peer review process Okay, so that's flight in a nutshell. I think you're gonna get something out of this I'm not saying you're gonna all be published because that depends on editorial review and that kind of thing But we are setting the bar high and we're doing that to say that this is worth. This is worthwhile basically, okay So let me turn things over to Joanna and she'll then our first session of the day And she'll she'll get right into the components of flight All right, all right, so first I wanted to thank you all for coming. It's really a pleasure to have such a Variety of interests and needs and what's interesting of course anytime you put together a presentation or a workshop You always ask yourself, who is my audience and in this case? Wow, it's it's it's quite a variety so what's exciting then is to be able to present this information and I think all of you will find yourself your place within the work that that that that we're gonna be sort of guiding you through and From you know acronyms down, you know on that sort of level all the way up to professional development for people who are language program directors, etc. so So it's it's in some ways a lot of materials to cover and it and at the same time I think within this two-day time frame. We're going to be able to do it fairly elegantly So this first session is called and unfortunately the type font Sizes got all kind of screwed up on this But anyway, it's called conceptualizing a flight lesson because it points to the to the fact that before you can sit down and actually Create or design a flight lesson There's a lot of preparation that you need to do and that preparation really centers on one element in particular And I want to guess what that is It's the literary. How are we defining the literary in this context? It's the literary but for language acquisition It's not for literary studies specifically and it's it's something that can be found in the everyday so defining it seeing how you can find it and then Using that for creating making meaning out of a text and which is going to be in the form of a textual analysis for Flight a flight textual analysis. So I'm going to be working walking you through basically these dimensions I'm going to really break it down make it concrete And then Chantel and then afterwards you're going to have the opportunity to work with text that you brought in So first quick question. Did has everyone brought in at least one text is there anyone here who does not have a text? Okay, so maybe what we could do when we get to that second session You can work with someone who? Works in your language and you can maybe borrow one of their texts or use the same text We'll find Right but but the easiest thing might be to use something that someone already has already brought in it's right there So All right, so actually what I'd like to do to begin is to Start with a handout, which is a Sample text now you've done some preparation for this workshop a little bit of reading a little bit of looking at materials And at the flight website I'm going to give you a text and we're going to ask very basic question this is the text and The question is what makes this text literary What dimensions of? Literariness in whatever way you conceptualize that notion what dimensions of literariness. Can you find in this text? so I'm going to give you about five minutes. You'll work With the people at your group you can work individually if you so choose, but you can also discuss I'll give you about five minutes to See what you come up with All right, how about we try now to bring it together Okay, so what I'd like to do is to have each table just say one Thing that you found will go around to so each table have the opportunity to say one thing listen carefully so that we we don't you don't repeat and then After we've had that one round if there are other things that you want to bring up then let's bring those up as well Okay Can we begin with you? Yes Oh, and we need the microphone. Sorry. This is the Thank you One thing that we saw in this text is that there's There's room for interpretation from the reader some sort of backstory or something that you know the Not only the writer, but the the reader fills in that's an aspect of literariness. Yes Filling in the backstory. Oops We noticed that there was a lot of playing with the reader's Expectations like the first line asked do you love me you expect yes or no not I could and also answering questions with other questions Yeah Okay, I Can't remember if you were all One of the things we talked about is it seemed like there's a little bit of genre play break because it's a conversation But it really feels like a poem so something's going on there Feels like a poem First it sounds like a Everyday conversation, but when I read like I don't like coming over and it's the messenger like we don't speak like that on messengers So we have like more of playing with words and expectations of the reader So for example, we say do you love me we are we expect like to be yes or no But here I could and then we have how much hurt if I tell you so like using with using words and Kind of puns and things like these so you're tying in also with John will play and Playing with those expectations. Yeah So we also talked about genre play, but I also mentioned almost I don't even know if this is a thing but medium play Because we said if this had been a screenshot of the actual instant message, I would have read it completely differently I would have put voices in my head of some teenage girl saying do you love me So we talked about what the difference is between Seeing it written like this printed on a piece of paper as opposed to seeing an actual screenshot of the conversation Interesting so your point about you don't know if there's a term for this This is we're gonna you're gonna encounter this very much when you start exploring the literary and sometimes There is a term a technical term and sometimes there isn't and that's okay We don't need to be tied to terms what we need what we want is to be able to work Effectively with the dimensions dimensions of literary literariness that we want to bring to our students for language, yeah We talked about how it is like a poem to and how there are some moments where it's ambiguous if it alternates Between two people or if it's just one person and it could be like a self-reflection kind of thing Doesn't have to be I mean it does say a dialogue conducted over instant messenger, but even there there's still like room for Thinking that someone repeats a couple lines and then the second person So it could be happening in someone's head for example, uh-huh. Yeah So context Along with backstory. Yeah There's also a lot of room for interpretation. Oh, what's the tone? We we missed that and so you you can often look at this or you could look at this and say, you know Are they angry? Are they sad? Are they so what are the emotions behind these lines? I mean, I think that that there's a lot to be interpreted here. You can also almost imagine two actors coming at this and and coming up with with various different interpretations of Of you know, is it rage? Is it is it sadness all these different things? Mmm. Yeah, is there another element that you'd like to bring out that is different from what we've been discussing Yeah, I thought it was interesting that if you just look at the text and you don't look at the The instant messenger part it could be from any time. It's a very timeless Way of speaking or writing it could be from you know the 1800s But then and so you really have no idea and then you see the instant messenger and it's kind of almost jarring Right exactly so jarring this Okay, all right. So as you can see a simple text Oh, my other question actually was if you were thinking of using this in the an equivalent foreign language Class in the language that you teach what level would you? Want to work with this text in and you can talk about it as semester level? If at the university level since everyone here is Okay, a 1 a 2 Right information questions. Mm-hmm. I mean it has to you would have to The students would have to have learned. Oh, I'm sorry The students will have to learn a lot of verb forms. So perhaps an intermediate level We have future we have a like the hypothetical period that if I tell you it will be true So, you know, maybe this could be a second semester, but it kind of depends on the curriculum you're working with yeah Oh, yeah, okay, that'd be great Okay. All right, so As you can see it's a simple text But there's a lot going on it's everyday language, but all of these Questions of interpretation of context, etc. Come into play So what we're gonna do now is we're gonna start to unpack what we mean by the literary and The first thing that I want to just cover is some of the basic tenets of Flight and of course the acronym me me Acronym means foreign languages and the literary in the everyday so One very important point is that communicative language teaching clt Scaffold's the study of literary meanings. Sorry of literal meanings of language and particularly at the lower levels And this is a very stated Assumption objective the idea is that you want to give students those basic building blocks And that perhaps later if students continue to more advanced levels that they can get into These kind of potential nuances of language, but in flight We widen the frame from Just the literal to the literal and the literary from the beginning as Carl was indicating earlier so what's perhaps a Novel in the sense is that flight explores what structured input Constitutes for the literary and that's a very specific term within the field. So structured input. What what are the mechanics the basic? The functions the the what what is happening, right? What is the literary so that we can communicate that to students and not have it just be something that is entirely amorphous? so we want to to Explore what structured input looks like in order to articulate a comprehensive pedagogy of meaning-making and have it be For language the purposes of language acquisition again, it's not for literary studies It's for language acquisition and finally in line with other multiliteracies approaches because flight falls under that much broader umbrella flight reframes reading viewing and listening as interpreting and then writing and creating visuals as redesigning So the literary what does it mean? The opposite of literary is literal So the literary in this context is all of the ways that a language and a language culture I'll get to that term in a moment allow for creating non literal meanings So is anyone familiar with the term language culture? So language culture comes out of the field of linguistic anthropology Michael Agar is one of the key sort of people who has worked in this field. So the term his people use lingua culture Agar coins the term language culture, but it's the understanding that a language includes not only grammar and vocabulary But also what he says is past knowledge local and cultural information habits and behaviors. So language is not just a code you know a Code of forms it embodies it in so many other dimensions of meaning So in looking at the literary as non literal We're going to be talking about two Aspects of this and the first has to do with foregrounded meanings So how many of you are familiar with the term foregrounded meanings or is there someone who this is entirely new? notion of foregrounding It's new. Okay. So let's break it down Foregrounding and I'll just read through this refers to the features of a text that stand out from their surroundings The term itself is a metaphorical extension of the concept of foregrounding in the visual arts so if you think of a painting you have the foreground the middle ground the background and Depending on the visual prominence. We can ascribe. It's it helps to ascribe meaning it helps to create definition within that composition so that we can think Narratively if we so choose or think about what that even in a very abstract in an abstract painting We can start to construct a sense of meaning So foregrounding in a visual in a written text follows that same notion of prominence so foregrounding theory suggests that in any text some sounds words Phrases and or clauses may be so different from what's around them or from some perceived norm in the language You all talked about. Oh, this is contrary to norm or expectation That they are set into relief by this difference and made more prominent as a result so Why do we use foregrounding in a text so there are different functions that we can ascribe to foregrounding The first is to potentially highlight soften or intentionally obscure meaning To express new or unique meaning to differentiate or obscure perspectives To invoke aesthetic and affective responses To develop themes and to create coherence in a text So foregrounding and we'll see by looking at these various examples actually does a lot And so if you think about communicative language teaching teaching textbooks that only focus on literal meanings of language How are students really supposed to be able to make sense of a text when all of these other Dimensions that are actually in play are not being attended to what are they getting out of? meaning making that's going to be Allow them to then use that in the real world so Those are the functions and there are many and what's interesting, too Is that these so-called literary functions when we use that term literary and we're trying to thinking of introductory level Language courses we think too esoteric Not appropriate, right? We just want to give students the building blocks. So the flight approach is really about Making the literary accessible to students and teachers So what does it look like? We've talked functions. What about the forms? What are we looking for when we talk about? Literariness in a text so there are two forms one is extra patterning or parallelism or repetition so Things are made prominent visually in a text when they are in some way repeated Okay, and some of you brought that up in your comments that you see it because oh this has been Done several times in the short text. So what does that mean and the second is a much broader category? It's called deviation. So subverting rules conventions expectations that covers a broad range of potential ways of of making meaning and Again terminology is not something that we want to get bogged down bought by in literary studies There's more of a concern with the specificity of the terminology that you use and we're going to introduce a terminology That is much more user-friendly for our purposes as we go along with this But in some cases there is no term so it's going to be up to up to you to find a way to capture You're going to see these things in a text. How are you then going to work with it? So let's look at an example. This is the first line of a poem the title dollar by Rothka, and I'm not sure of the pronunciation Huh I'm assuming yeah, okay, so This is the line. I have known the inexorable sadness of pencils there are four instances Of foregrounding in this single line So I'd like you again to take a moment the people at your table and just see What do you come up with think about extra patterning think about deviation? What do you see in this line? so I'm sorry. We don't need to do it by table, but maybe if someone wants to volunteer to to say one of the Areas what what do you see that's foregrounded in this text? Yeah? Yeah? And of course there are no wrong answers, right? It's just this is what interpretation is. Yeah I Shouldn't shouldn't say it that way there can be wrong answers Well, what I've noticed is ascribing human attributes to animate to inanimate objects. Yeah, right so personification. Yeah, yes, yes We have a pretty I think obvious Deviation from lexical norms and that Inexorable is not part of everyday vocabulary. I think for almost any native speaker, right, right? So yeah, I mean actually I'll just show you the next slide These are the the deviations right and and again there can be others that you come up with Yeah, I had one point. Yes, this poem reminds me of the works of Ezra Pound The one who just changed the model of the poetry just writing kind of writing poems in forms of stanzas or kind of lines He just chained in one line poem. Yeah, he has the metro station that one's kind of maybe Imitating imitating the other style right so subverting the rules or conventions of writing poetry. Yes, exactly because poetry in and of itself, of course is is inherently Literary poetic etc. Right playing with conventions, but then you also then Within that within those conventions you within the genre conventions. You can have poems that play against poetry Expectations for poems. Okay, so this in terms of deviations this is tying into now what you've been talking about So one is the use of have known so have known already Emphasizes experience, so we're looking for things foregrounding what foregrounds what stands out from the text, right? So we can think about either again extra patterning or deviation. These are deviations have known. What does that mean? The second one the sadness of pencils ties in with the personification that you were talking about but also in the Generic plural so for example, I can imagine if here is a group of pencils That's chewed up the paint is chipped off and they're broken. I can say oh, that's a sad group of pencils but to say to talk about the Sadness of pencils. It's not only personification. It's the generic plural. It means all pencils are there's a sadness to two pencils So and then inexorable right so not only in terms of I mean it stands out because it's perhaps a different register It's perhaps more It's just odd and also the meaning of the word impossible to stop or prevent Why is it impossible to stop or prevent the sadness of pencils, right? So in this one line? We already have these cues these deviations and then in terms of Repetition or extra patterning and I heard I think you were talking about this in your group But anyway, so the the extra patterning of the phonemes and and so I have known the Inexorable sadness of pencils. I've known the inexorable sadness of pencils, right? so there's something going on about that patterning and in fact a lot of people let's say who are not involved in in Literary studies whether Informally or formally Often will think that in a poem that sounds are there for aesthetic pleasure But when we talk about sound play it also brings in meaning and In this case this poem is actually about working in a white collar office in the 1940s was written in the 1940s and The oppressive nature of that work. So throughout the poem this theme of the Dolores Nature of this stultifying nature of the work is foregrounded by this personification of all the office Object the objects in the office and this droning kind of underlying sound of extra patterning of consonants and and and vowel sounds so and Poetry of course is so wonderful a lot of the examples that we're giving you today Come from poems because they're just they're so succinct in their use of the literary but We'll see that of course. This is just true of language in general So, okay, we've been talking about whoops before I get to this actually I'll say we've been talking now about Foregrounding and for all forms of foregrounding regardless of what it is and what we call it are all examples of intentional play with meaning-making But there is another dimension of what we call what we bring under this umbrella of the literary for the flight approach Which is unintentional and this ties back to the notion of language culture and then rich points Rich points are what happen between two language cultures. So again going back to agar He says it's a verbal or nonverbal expression of a group or culture that does not make sense to the researcher, right? this comes from a Linguistic anthropology so a researcher goes into a new context And it says it describes what happens to a person who enters a novel linguistic or cultural context and encounters something that is puzzling a Term action style of discourse or conversation which differs from the frame that the researcher brings to the situation So why is that under this category of the literary? Well, it's because that the literal meaning in the language culture the first language culture Doesn't match the literal meaning in the second language culture and therefore it It evokes the need for what again agar calls cultural Translation and this can be achieved in different ways But the two most obvious ways are to do it either through having an insider Inform you as to the meaning of this thing who someone who understands both cultural perspectives perhaps or through research anthropological research and you have to do sort of deep listening and deep study in order to get at that that confrontation of two cultural constructs, but the thing is that We're not talking about anthropology per se here. We're not going out in researching in the same way We're working with students who are studying another language So we want and students get very frustrated with this bumping up against Cultural constructs that they they don't understand and they can't even see and sometimes that frustration They don't even feel the frustration because they don't even realize that they've just you know Bumped right into it and they're oblivious to it Right, but it can be very frustrating especially in study abroad programs and for all of you and some of you who are here right now Coming from other cultures you're experiencing it all the time And so part of the goal of the flight approach is to help people to better Negotiate these by dealing with in fact rich points in the same way that we would With foregrounding in terms of meaning making So here's an example. Yeah. Yes, please Whoops, no, where's the mic up? Yes, please No, I'm just gonna add one of the things about the about literature and the literary is it often Brings out these rich points by making us sort of strangers in our own land Yes, see familiarizing and so in some ways this exactly is why the literary is so well suited to the foreign language classroom And foreign culture classroom is because they're they're sort of paired aptly because the students are being positioned in that defamiliarizing way in the L2 In the same way that literary text will often position all of us as readers to sort of see something different in a very everyday Kind of encounter an everyday kind of conversation. That's right. So that I think often language learners are More literary than your average reader rather than less literary in some ways Yes, but they don't they don't believe it or they don't they don't make that connection And so they don't feel emboldened to to in fact explore that dimension more more richly So let's look at an example. Let's make this less abstract, and I'm gonna give you a Moment to read this to yourself to yourselves, and then we'll go on Okay, so what are your reactions? One of my react this is on all right. I have two main microphones here. I Guess here I Think about rich point is always triggering an emotion Because there's a lack of comprehension you have an expectation for how things are going and it's not met and earlier When my little welcome I was saying oh when people don't have their expectations are on that they often get a little grouchy or grumpy or Freaked out or whatever So I think they're rich points are often you become aware of a rich point when you're feeling something And in the cultural context, it's like you're feeling that it's often hard to put into words You're out of sync something that should be happening is not happening and you don't know why and This particular example I remember reading that and thinking about my own rich point happened in a wedding in India and It was my daughter who married into an Indian family and we were all there and I knew enough about weddings in India that they're very big productions and you invite everybody and So parts of it. I was kind of prepared for in other parts I was not and I remember that the night before the wedding ceremony We were having a big dinner with all the families and You know they say everything's bigger in Texas. It's not true Everything's bigger in India. It was mind-blowing and I was feeling really anxious because I didn't know what was gonna happen the next day and I was talking I was sitting at the family They were all Indian and I said, you know, I mentioned the the rehearsal dinner This is a nice rehearsal dinner and they said what what is the word what? And I said this is the rehearsal dinner, right? And they said what do you rehearse? And I said well the wedding right we're rehearsing the wedding. Why didn't we rehearse the wedding? When are we gonna rehearse the wedding? I don't know what's gonna happen tomorrow and I could sell this is a rich point and he's the person next to me said well You rehearse a wedding, but it's a ceremony. I said I know it's a ceremony We rehearse it in the United States and he said no, no, no, no, no you just show up and And thinking about affect I was so nervous because I had been thinking what is my performance I'm supposed to perform here. He said no, you don't have to perform and I immediately felt oh cool. I Don't have to do anything to show up at the wedding and it was true There were thousands of people it felt like thousands thousands of people there and people just said you Come here sit down it happened It just but it was a very different way of doing a wedding than what I was used for it My emotions were kind of out of control right so we will be talking about emotions a little bit later and actually how we Channel them constructively, but when we talk about literacy right and text The next question is what are the consequences of not being able to work? Transculturally and translingually and so this is from a study that Swafer and Aaron's Cited in in their book from 2006 on remapping the foreign language curriculum and so they go on and they say One would presume that after reading additional text about American wedding practices the Indian readers would find their earlier inferences inadequate or inappropriate however subsequent research on foreign language reading suggests that students resist correction of first impressions that initial Misapprehensions about textual features can become entrenched Misreadings and I'm sure I mean I know that I've experienced this with students I know and maybe you have to is that there's all this evidence in the text that seems obvious to you and It's not just about one word right there's it's always all this other stuff That's going on around it, but if they ascribe a particular meaning that meaning that is resonant in the in the native language, right? To to that it's going to skew Everything else and they come up with an interpretation that Either has little resemblance to what's really going on or is off in some key ways So this is really the crux of the matter so that as language teachers we need to find ways. There's no You know Solution that's going to to thwart all of these kinds of you know cultural Misunderstandings and and misinterpretations, but we need to find a way to work more Systemically with helping students to notice and better cope with these these very issues so Now we've talked about the literary so very quickly the every day It has to do with texts and context everyday text everyday context and text of course in talking about the flight approach We're using text as in multi literacy Frameworks more broadly there. They are oral written visual anything that is a kind of coherent unit of communication spoken, etc is a text So we have different Areas of text that we can think about one is everyday genres. Can you think of examples? What are everyday genres? text messaging conversation emails I Was going to say letters, but of course no one writes letters anymore there if at best it's an email. Yeah To-do lists shopping lists Street signs billboards, etc. So Everyday genres literary genres about the everyday So they can be poems they can be Excerpts from novels or you know Literary genres of any kind but about the everyday and then also literary references and artifacts artifacts that are Recontextualized in personal genres. So for example fan fiction or the linguistic landscape landscape when you talk about street signs, right? So sometimes people will tag on a street sign or some other public space They'll add something to it, right? And so suddenly that becomes that's another layer of meaning that's brought in that can then potentially be explored For meaning-making if it's patterning out in a way that will be fruitful for language acquisition So This leads to the question of what is an authentic text So standard definition, it's a text produced by a native user for a native native user audience Is that I don't know is that was that would that be your definite? How you conceive that definition how it's used more broadly? An authentic text Corey no Okay, well I said native user, but yeah, okay, I'm not I don't mean actually not potentially your interpretation But the way that it's used in Communicative language teaching textbooks are standard Yes, that's the standard definition within that context is what I'm getting at. Yes. Yes standard definition Right, sorry Okay, so For flight we have a very different definition It's a text that plays literary dimensions of meanings off literal norms and conventions in order to heighten nuance or bring coherence to a text That's our definition basically Which is not to say that literal text again the literary Contrast with literal it's not to say that literal text can't be authentic based on the standard criteria But they're just not the pedagogical focus of flight lessons a flight lesson centers on necessarily centers on a text that has these literary dimensions that somehow play off of norms and conventions So One of the the things that really strikes me when I look at the standard definition is that it's quite Exclusionary it means that language Students and teachers cannot produce authentic text if it's for the purposes of language learning and that it just seems to me Problematic to say the least right so the goal in in in reframing the notion of what an authentic text mean means is Let's identify what is authentic about communication and then we use that in a sense because Language is inherently semiotic and so right. How do we deal with all of that? Noise that goes on in language. That's not the prototypical or literal meanings So I like to use a musical metaphor So the literary constitutes the harmony to the melody that literal meanings lay down and together they create a fully realized a Unit and unity of communication So when you think about this think about a student of music Do they only year after year study the techniques that that that apply to The the the melody of a piece of music What about the harmonies right if you want to create music you need to also be sensitized to that so the notion of Langua of musicality you want students to to develop a sense of musicality along with their techniques So I coined the term Languicality to make that parallel with language. We want to promote Languicality along with languaging so Now you've got a little bit more of a concrete sense of where we're going with the literary We're going to go back to the text that you have Conversation number one and we're going to take take a look at oh actually two tools I'm sorry Devon the handouts The handouts, please So we're going to give you two handouts one is Preparatory steps. So this is a handout. There are three steps that you're going to be following All of this work. We remember is conceptualizing all of the pre-work before you can actually then get to scaffolding The the the meaning from of a text in a lesson so you've got these preparatory steps and then you also have a chart and we're going to be taking a look at a chart at the Chart now and in the session on application, you're going to be using these handouts For the text one of the texts that you brought in And this afternoon again exactly so don't yeah, hold on to these precious leaks They will of course be available in the website as well later on right though electronically Actually, yeah, I'll take one too just So looking at the yes, thanks looking at the chart We're calling this layers of meaning For textual analysis and you'll see on the left hand in the left hand column the term Metafunctions this may also be a new term for you. So here's where we're getting into some of this terminology, right? So meta functions is a term that was coined by holiday Michael Halliday the British Linguist and if you look on your handout Give a little bit of background information on that. Let me see where I have that Yes, if you turn your sheet over to the second side step number two for generating a textual analysis So this is this reflects Michael Halliday's work in systemic functional linguistics That's that first paragraph meta functions were conceived to identify the three most basic functions that languages have evolved to serve for The purposes of communication So the three key terms here are textual interpersonal and ideational and you'll notice on the chart that we have along with textual textual We have a slash for compositional and then under ideational. We have a slash with Representational these are terms that then come from Frank Seraphina's work that expands meta functions to include these These dimensions for visual texts, right because we really want this to be very holistic texts of all sorts so When you do your work a little later with applying and and also later with with Chantel You can go through what what it involves and the questions that it poses But if you then shift over for a moment to the flight categories of literary play Here is the core. These are the core terms that were that we use for developing flight lessons and there are several reasons why we've introduced these terms And I also itemized that on the on the handout So it says on the first side working with these terms can help Situate the text in your curriculum how it it might fit the linguistic thematic and or cultural topics of a unit or chapter It also provides language teachers and students with a way of talking about the literary and then it will facilitate a textual analysis Which is what we're working toward so you'll see Under flight categories of literary play really basic so syntax play and this can go from Sentential to textual levels it has to do with the organization of a text the coherence so parallelisms of oppositions to Gresham digressions Visual play and in this sense, it's about formatting Capitalization punctuation fonts etc. Sound play if it's if it's an oral text Which can include things like rhyming and homophones and literation All of that relates to the textual level But then when we get to the interpersonal level right how the interactance What is their relationships to each other and what are their purposes? How does the the the text make you feel do you feel addressed by whom what relationships are expressed in the text is their Evaluative language etc. We have two basic categories pragmatic play you can play with register polite forms forms of address Perspective play characterization mood evaluation irony these are only examples right there once you start getting Into these categories of literary play you'll see that they can be instantiated in Such a wide variety of ways, but you want to at least lock it down in some sense you have to you have to give it a name right and Then so on the ideational level or representational level we have grammar play So non-standard grammar or creative uses of grammatical metaphor Word play of course puns and polysomy symbolic play here. We get into metaphors metonymy. These are the more Obvious let's say associations with play that a lot of students have they think of it as metaphor Oh, yeah, okay, we get metaphor. They don't really understand that there are all these other ways of playing Figures of speech allegory and also visual symbolism when we start talking about visual text Narrative play so non-standard or subversive use of familiar story lines text worlds narrative tropes counter narratives and culture play So foregrounded schemes for cultural products and practices code switching code play and then finally a little bit outside of those three levels we have genre play because genre play is a blending of two different kinds of one or two or more actually different kinds of Expectations sets of expectations that we would have for a genre. So you have examples like modern fairy tales or theatrical performances of tweets So you have these layers of meaning that you're going to be working with in order to Develop a kind of textual analysis and what's important again about the terminology is that These are terms that language teachers if they haven't studied done literary studies like myself for example I've never really done literary studies, but I plugged in on a more intuitive level. So my hope is that these terms are Speak to you intuitively and speak to students more intuitively and by attaching the word play it foregrounds the notion of Literariness Right. So this is all you know all these kinds of things in some fashion, but let's flip it and let's bring in the notion of play Okay, so That was you know, it's funny you say that I thought the word play my association is it supposed to be fun It is I mean and Which is not what many people associate literary studies to be it's not necessarily fun Because the whole idea of textual analysis gets very heavy, right? And so this idea of we're really just talking about Creativity but in a different way. So I think that it helps me reframe textual analysis as just Playing around with the text right and that right that is that helps that helps me get into this the mood of doing this right because I think Well, I don't know. I've met many language teachers who And and many students who if you start to talk about the literary and literature and literary text Don't feel invited into that space to they don't feel comfortable, right? So so the notion of play is is is also a way of breaking down what it is That that we we want to do making it accessible. Yeah That we're trying to do with these Meta-functions that will also be coming back to you later is to point out that play can be very serious that doesn't mean it's unfun necessarily but when we're playing with our Frames of the world or our expectations about how people should behave what they should do That can get very serious. Yes fast. Yes, so it's to move us away a little bit from another expectation that language play is about looking at just kind of rhyme or children's texts or tongue twisters and things like that But we can also look with the ways in which people play with relationships between individuals or views of the world Through these texts and kind of expand their understanding of the language culture in that way. Exactly. Yeah so, okay Let's now look back at the the text that we have conversation number one and I'm going to show you my textual analysis for it and I the caveat here is that of course there is no one way right to to interpret a text There's no one way to develop a textual analysis. These are the things that stood out for me. This is the way I'm used to working in this vein in in in my way But the notion of OER is that it's open now to you to share to do what you Feel and what you can bring to it and make it your own, right? so Back to the sample text the question first question I have for you is what genre is this this was already something that came up Some of you said a poem What what what can what can we call this as far as a genre text messaging genre Calls itself a conversation But it's a comment but it's a dialogue conducted over instant messengers, so it's a conversation. Okay dialogue Okay, but some of you say a poem why a poem it's what it's the right shape Well, that's the visual that okay, so that's a level of meaning. It's the visual. What do we see when we look at this text? So you see a poem. Yeah Okay, so in fact The genre is called dialogue poem It's a and this is a poem This is a sub genre of poetry that dates dates back to antiquity And it's a poem composed by a conversation of a conversation between two fictitious speakers each of whom expresses a different viewpoint and Typically, I mean if you look on on the internet or whatever for for views of dialogue or conversation sometimes it's called the conversation poem is that often the For each stanza the stanza will be a different person speaking. They'll include the name of the person So though so you're able to go back and forth and see how this person person a says this person B says this they'll use maybe Bullets or hyphens or columns person a is speaking here person B is speaking here I've seen things really interesting things done with collages and drawings and bubbles and it can go in all kinds of directions Right, but the the basic notion of a dialogue poem is that it's a conversation between two fictitious speakers each of whom expresses a different viewpoint So here is a convention and so here's the interesting when I was looking for a text for this I was trying to find he what's a text in English that's gonna really work for these purposes and da da da and I wanted to contrast. What is the the dominant? Genre that's used in introductory level textbooks for language teaching dialogues and I wanted to find a dialogue that was going to do exactly what I wanted it to do instead of the standard literal dialogue so I happened to come across this poem and I said, oh, I don't even know what the conventions are of a of a dialogue poem So I went online and I found the conventions and that's the link that's included in in In these slides when I talk about the convention. So here the first convention is voice This is how your speakers speak so it's their word choices rhythms and structures and here is the convention for someone This is to teach you how to write a dialogue poem It says the voice of each of your speakers should be distinct enough that a good reader could tell them apart without needing to Be told which speaker is speaking Now we already heard from the from your early interpretations of this That you can't really know Who is speaking? So we have two when I'm talking now on the textual level so this first column We have textual level now I'm going to go into the two kind of areas of literary play that I see in it So genre play it is a kind of a blending right? It's a dialogue poem But in the form of an exchange of instant messages and then we have visual play So the line spacing indicates turn taking but because this is texting we don't know who wrote the last line the you first Whose voice is it? We don't know on the now Ideational level we have some word play and I've put this in red So we see the word the number first in the very title and we see at the as brackets basically for the for this Poem the word first at the end. So for me this foregrounds Ambiguity because the use of number one in the title implies that more conversations on the topic will or should follow But when we look at the last line you first, we can't know if this will be the case Okay Now on the interpersonal level there's a lot going on in this So I'm going to talk about it first as pragmatic play and grammar play So it's grab pragmatic play that's kind of instantiated via grammar play But someone brought up responding to a question with another question or conditional in first-year textbooks When you study information questions You pose that question you respond with yes. No, or maybe or something to that effect But what does it mean within especially within here? We get into repetition to within that within the space of a short dialogue that so many Questions are answered by either another question or conditional. What does that mean? Going further with this pragmatic play and grammar play. We have oppositions You've got double negatives that imply possible positive responses. I don't want to hurt you that isn't the same as loving me No, it isn't is it no All right double negatives that raise that question of is there possibly something positive going on here because that's what double negatives Do in English? You also have the statement form for is it as opposed to the standard question form. So there's it's more declarative Instead of questioning which becomes ambiguous We have registered some of you brought up the the idea of its complete sentences as opposed to texting abbreviations and then also we have the Use of shall which is a formal invitation So what is the register in this in this dialogue or conversation? Going back to convention we have what's called viewpoint and this Site says that the advantage of a dialogue poem over a single speaker poem is that you can actually express and explore different viewpoints So what do you do if you want to write one of these poems you choose two speakers who hold different perspectives and Whether you find yourself agreeing with one perspective or the other you should present each of your speakers viewpoints accurately But what happens here? We can't tell if the viewpoints are different and it leaves the leader the reader to wonder and some of you brought this up Who are the speakers their age gender sexual orientation socio-economic class? Where are they? Why would they choose to have this conversation via text messaging? We don't have a sense of context and I thought your comment was really interesting if it had been a Screenshot of an actual text messaging. We would interpret it differently then we're seeing it written on on a page Etc. Etc. We it's Decontextualized it's outside of time even you brought up that the language could be something from different periods of time It's not anchored to to one moment or historical era The convention of conflict so coming together of two different perspectives often generates conflict That's part of a poem that you want to bring up right just like just as you would in a in the constructing of a narrative Right you want to bring in some kind of a conflict Which of course then should ultimately be Resolved or somehow constructively for both the read for the reader if not the speaker So it's okay to have your speakers end in conflict But somehow the reader should feel that there's been some sort of revolution resolution of that tension But of course there is no constructive coming together of perspectives The conflict is not resolved because we can't know if the speakers actually differ in their perspective So we are left with a lot of data And notice that I really tried to tie this into the language in terms of the the language Uses and functions that would be standardly recognized and now we sort of flip it around and say yes, but via Foregrounding we can see that some deviation in extra patterning that something is going on here So the question how do we then tie all of this together? So we want to say For this textual ideational in an interpersonal levels How do these meta functions and categories of literary play come together to convey a dominant theme How do we put it's all at the service of what the author is trying to communicate So anyone want to venture a way to put this together? What is this poem about? What's the theme of this poem? So I guess it's dominant theme sounds a little imposing, but maybe just what is that? What is this poem about right? What is? What is the main kind of how do these things tie together right so anyway, it's fine just for the sake of time. Let's yeah One what one sided love could be right build up of a declaration of love And it's got all this flirtatious Language here, and you know, there's just it's playful. Uh-huh. Uh-huh. Uh-huh. Yeah Well, here's another question. How would you feel? If you were communicating with someone that you Wanted to come to an answer to that question Would you would you interpret would you feel that it was playful or would you might there's a lot of background here? There's a lot of background that we just don't know that's right I mean, why would you even bring a herding into this if it that's right if you really wanted to express love to someone That's right. Yeah, I would say that the uncertainty in the anxiety surrounding love Okay, so right so I came to a similar sense But what I said is this is poem a poem about being gently or politely evasive or non-committal when asked to declare love for the first time Right so all of this hedging that's going on all of this ways of they're not saying No They're saying I could And so it's But it's done in in a polite so we have that formal register the use of shall the complete sentences right so they're being careful So it's not it's not devastating news. There's hope But it does seem like both parties are are Say are communicating that message and again because the last line you first we don't know who says that last line It means that they're on the same page. They're at that same point of being Fearful about declaring love the first time a really great paraphrase because I when I read I said yes That's it but it's it loses all of of course the punch and the feeling of the emotion So if that's the literal as opposed to the literary, right? But what I'm trying to do here is to say To bring it back to language teaching right so if you want to turn this into kind of functional Part of it right is functional How how how can students work with this and this leads to my next point? Which is that the first half pretty much or whatever the first part of a flight lesson is all about How you scaffold the literary how do you break it down for your students? I've done this this is a textual analysis But but Chantel is then going to work with you of how you transpose this into Activities and ways of working for students that they can then get what you want them to get out of it Initially for helping them to interpret the text make meaning out of the text and then the second part is Synthesizing some of that you don't have to use all of the literariness in a text You choose what it is that you want and if you look at they hand out on the second side After you've done your literary your textual analysis so so the first actually wait, I'm sorry Let me step back for a moment. Let's go to the first part What is the first step is finding the literary and here are a number of tools at your disposal? So tool a is note any instances of extra patterning or deviation those foregrounded forms Is there anything else striking or unusual about how the text is structured tool be engage in critical feeling? By taking note of any reactions so surprise confusion annoyance excitement This gets on to those emotions that you experience while reading what mood does the text create what aspects of the text might have contributed to those feelings Tool see look for any cultural rich points words phrases expressions that carry a heavy cultural load Visualize the underlying cultural frames or schemes in the in the first language culture in the second language culture What would a reader or viewer need to know to understand this text? What questions do you have about the cultural context of the text? Then I say we say research norms and conventions where necessary you you'll have time to look at this when you actually do your applications I'll just walk you through quickly and number three there is when you've identified one or more dimensions of the literary Go to the chart now. You want to start assigning terms so that you can work with this in a lesson So then you do your textual analysis and Then we get to the third part which is drafting a redesigning task So I like when I create a flight lesson. I like to to bookend I like to do my literary my textual analysis But I also like to then have a sense of where do I want to go with this in terms of students putting this into practice It's one thing they need to interpret the text, but then they need to do something with it Right, so redesigning is a term that comes from multi literacies and Chantel will go over that with you I'll just give you a sense of it a heads up So the idea here is decide which dimensions of the literary in the text would fit your objectives for a redesigning task in the intended unit or chapter of your course Think of a new context or situation and a suitable genre in which your students could put these selected dimensions of literary play into Meaningful the full effect doesn't have to be the same genre as the reading texts These dimensions of the literary will constitute formal constraints for prompt and creative problem-solving in your students compositions whether they're written oral or visual and This then can provide scalable criteria for assessment because a lot of people the term at least in the United States in term and language Teaching in recent years the term creativity has become a very strong point and sometimes I've seen I've seen rubrics that say creativity in them but there's no Basis for understanding how you're actually grading or scaling creativity. So here. It's about their effective use of These dimensions of play that you want them to Put into into meaning so that that drafting of ideas is meant to be a starting point For your lesson you have an idea of okay. These are my raw materials. This is what I get from the text This is kind of where I think I want to go with it and then Chantel will help you to put that together. So when we come back from the From the break Is it break now? Is that the idea? Yeah, when we come back from the break you are going to Choose one of the texts that you brought in Try to choose the text that's going to be the most fruitful for you in in in thinking about this work with with the literary And and then in that second session you're going to have the time to put together The preparatory steps Okay, you're going to create those raw materials that you'll then later on turn into a lesson so the idea is for you to Take the the handouts that we provided and to Find the literary in the text that you're working with the literary dimensions Put it together in some form of textual analysis And again, this is a rough draft, but the goal at the end of this By 12. Is that what it is until 12 30? At 12 30 that you will have a draft of all of these preparatory steps How you categorize the literary Dimensions that you found in relationship to the the meta functions And you can use again. This is a rough draft. So it can be Um, you know, you can draw lines you can do it visually you can Put it together in some kind of More table fashion if that works for you or it can just be an annotated text anything That works, but that's going to somehow allow you to put together these dimensions and to come to some kind of conclusion As far as what are the dominant theme themes in this text and how how are these things bringing that into into view Um, and we didn't really talk about the the final step, which is the redesigning task But again, maybe just make some notes think about. Hmm. Okay Here's this text that that affords these different kind of literary dimensions What can I do with that? Which dimensions would I want to choose to to then create? and again Chantel is going to work with you on that to create some kind of writing think about redesigning as in this case Writing a writing task or a task that involves some kind of creation of visuals What it could be a different genre it could be a different context But what can I get them to do with this language that's going to help them? In terms of your curriculum too because this is all about tying into your What you're already doing. It's not about trashing everything that you do It's impossible and starting at zero and then being overwhelmed to know this is about How can you tweak? How can you subvert? We like this word subvert How can you subvert the textbook that you're already working with but in ways that are going to really bring out what you want for your students? Okay, so Does everyone have a text? Okay So go to and we can circulate to help you when you need or you can just Do your thing? So here we have um What and the other point I want to make is that the meta language that you use It's up to you to determine. Do you want to introduce? Do you want to use a word like textual? Do you want to use? I mean you want genre and theme? It's for you to decide with your students I'm asking you to use that language in your textual analysis because it's going to make clear What it is that you're working with Depends to what extent you want to go In using that with your students. So anyway in terms of here's an idea genre and theme for for this writing task, right? Imagine that you receive the following text message from your cousin and that it is also addressed to a third person Hi a hi b. I think you guys would really enjoy meeting up. You seem to share a lot of things in common I'll let you text each other to see if you want to plan something hugs and kisses So you and a partner will will carry out a text message conversation to find out some basic things about each other And to see if you wish to meet and I give an idea here of use of applications Like if I fake text message or google story builder You are both hesitant to make contact with someone you don't know Decide who will send the first message Do not edit your messages once you have quote unquote sent them Now this looks like already a fairly standard communicative language teaching writing task But i'm going to go a step further And here's where the literary comes in perspective play and grammar play on the interpersonal level When you feel it is appropriate express polite non-commitment or evasiveness by either answering a question with another question or a conditional And play with double negatives So these are things that students are not asked to do normally right you if it's a if it's an information If it's a yes. No question as we said earlier. You say yes. No, maybe right But here i'm saying oh dig into your feelings a little bit depending on what your Uh partner is is trying to get from you They're trying to get information about who you are to see if they want to meet up with you You want to have that ability to express a certain amount of Presentation hedging polite kind of non commitment. So here you have these language forms. You've already learned Uh, yes. No questions if it's a second semester, you've already learned basic negations patterns now You're learning conditionals put these together in playful form to help express this other dimension of meaning So depending on how your communication unfolds and the degree of evasiveness that's expressed You will see how you wish to end the conversation Will you meet agree to have a second conversation or avoid making plans? Right, so open ended. We don't know how that you you won't know until it's unfolding How you want that to end and then i've also added A symbolic play visual symbolic play for the ideational level Choose a moment in your conversation that is important to you find an open licensed image to add that would heighten nuance Or bring coherence to your message Now in regular text messaging people use emojis to you know to do that, but that's literal So what now what i'm asking students to do because i want to keep you know Scaffolding and supporting These various ways of meaning making and getting them plugging into things that are A step or two away from the literal So find an image that is symbolic, right for you in the way that you're feeling or in that moment And include that and that's going to mean that your Partner is going to have to interpret that along with This other levels of evasiveness and sort of that's going to all come together in your communication To determine what the final result will be So that's an example. So the point is that now you have the raw materials For creating a lesson designing a flight lesson So I like to When I start and I generate my textual analysis, I like to have that other End goal of where do I think I want to go with it? What kind of Activity task might I ask them to do for writing visualizing, etc. Whatever it is that i'm doing From for that unit Where might I want to go with this and then when you develop the lesson you may change You know, this may evolve. It's not doesn't lock you into but it gives you a goal an orientation For going further So that's where I wanted to end this session with Two minutes for questions or comments at this point Okay, so We'll break for lunch. We have until what time one 30 until one 30. We have an hour for lunch and then when you come back You're going to be working with shantel for the next part of bringing this into