 I'm both incredibly excited to be here today but also very appreciative. I see this workshop as sort of marking the culmination of almost five years of work on my part and also initiating a whole new phase. So I'm going from my little universe, my cocoon. I created this work out of intense frustration and I'm sure it's a frustration that many of you share. I teach French at Cornell. I'm in a Department of Romance Studies where the divide between language and literature is so entrenched and so set. It's institutionally supported and sustained and I will never in my lifetime see a coming together of those two fields. So one of my frustrations has to do with working in this kind of an environment and knowing that I want to do something else and so I've been incredibly fortunate to have had this connection then with Carl who actually does PhD at Cornell and so we met because you had come back in that context but then also the whole team at Coral. Natalie and I worked a lot together. You'll see some of the visuals were creating in fact these are visuals created for my textbook. So the frustration of the context of where I work, the frustration also of commercial textbooks and I would add to the notion of OER. We've talked about the sense of accessibility of education but I also want to talk about within my context and one of my reasons for creating these materials is that it's intensely frustrated with the quality of let's say or the perspective and the assumptions, the understandings of language that is so typical of foreign language textbooks and I've after reading the MLA report of 2007 which really spoke to me I've said wow this is what I've been doing for so many years I was an ESL teacher actually originally for many years and I taught in a number of different contexts and actually my undergraduate work at Barnard and Columbia was in Chinese studies so I've done a number of different things as a language learner, language teacher, I taught in China, I taught in France, been married to a Frenchman for 31 years. I had never planned to teach French this was not my agenda at all but circumstances actually 2011 forced the closing of the intensive English program where I was teaching at Cornell my colleagues lost their jobs and I was able to morph into becoming a teacher of French but I landed in this alternate universe of this romance studies department where all of the values were skewed from my perspective and I just thought wow how can I survive in this context so so these frustrations really came together and through the help of Carl and Coral allowed me to create this project so that is the the first sort of five years of the of this project the creating of the textbook and much of the creation of the textbook that time was searching for texts open texts on the internet because we didn't yet have the kind of mechanisms that Carl will be showing to you later about finding open texts so I was surfing surfing surfing and it was both enriching in many ways but a bit of a frustration so that I think is something that you will have perhaps less of that frustration of finding open texts so yes so we're going to be finishing each other's sentences a lot. Actually there's another part of the story that I think is interesting and and that is that she had adopted she was the coordinator of French at Cornell and she adopted Constantinite which is an open textbook that we produced here at UT Austin and she was the one who said you know I like parts of this but I don't like other parts of it which is universal all teachers say that about materials and part of it is because it was produced at a particular institution and so it's localized that institution to your job as a professional. That's exactly what she did. She kind of contacted us. She said can I produce my own literary materials. I said of course it's open that's the whole point. Go for it. And she ended up not just doing one or two activities. She created an entire, really impact. So that's she actually kind of incarnates what we're talking about here and that is open educators looking at something and then saying I need to adapt it to my local context and then pushing it forward. What we did with I think the important piece of the story from my perspective is that we joined with Joanna and started teaching her about the digital practices of open education. So we started telling her about open texts and we started to come and say I found this great text. I said nope, it's copyrighted. Nope, I'm sorry. And so finally we started hammering on the idea that we really wanted her to use open text because if you use an open text what she creates can then keep on being created by other people. And then we talked to her about creating common licenses and how to license all of these different materials which we talked about today. So that was our kind of joining forces with Joanna and we just let her run wild and we'll see later on today what she did with that. So we want to thank you and Joanna. Well and actually so this is what the textbook looks like online and it is truly open not just in terms of its licensing. It's in Google Docs which means that these words or these documents are downloadable in word and you can do whatever you wish to each chapter. You can modify these texts to the extent that you desire to fit your context as long as you maintain attribution. That is the one criteria that I insist upon and that open licensing insists upon. There are different types of licensing that you can have but I really wanted this to be the most open that that could be. So as far as I know this is the only textbook out there that allows that degree of freedom. So and I also want to say the notion of attribution is the scene of quote on. You cannot produce any of the materials today without talking about attribution. So we're talking about how to create an infrastructure for sharing that does not mean plagiarism that does not mean piracy. That means creating a legal system where people respect each other's intellectual property and that is hugely important which is why I want people to use these licenses so that you signal the rules of the game to other people who stumble across your materials. We'll talk more about that but that's really one of the issues that we're trying to get people to understand. It protects you but it also protects other end users. So it helps make it helps clarify the rules of the game. So yeah so I sort of brought you up to the present and now Chantelle I think the goal was for you to think about since she's the program director at University of Arizona where you're seeing. Where do I come in. Yes. During our last we all had to reapply for the language resource centers these 16 language resource centers and at that point everyone starts to get very creative because you think what projects do we want to do in this next grant cycle. And a persistent interest of mine has been creative and aesthetic and effective aspects of language and how those play a role or could play a role in the development of second or foreign language literacy. In addition to that we had not quite the same frustrations that Joanna was naming. We have a pretty good text book for one of the courses our intermediate level course that we teach at a university but it relies heavily on literary texts and something that we kept experiencing with students is that they would say well this is all well and good but what does literature have to do with language and we were wanting trying to get better at communicating to the students that it does in fact have a lot to do with language that the literary is part of language and literature of course is language as well. But one of our ways of trying to negotiate that and address that was to bring in a mixture of what we could call digital vernacular texts and so we've been developing a unit on gaming and also trying to expand that into things like Facebook and social media texts as well as memes you'll see a little bit of that today and I've been working with two of the instructors in our program Diane Richardson and Christine Lange who are here today who've done a lot on developing that aspect of the curriculum and trying to tie together the literariness of that language. We weren't quite talking about it that way but a lot of what we're doing is kind of focus on form and that materiality of the language through these digital vernacular texts and then Circle this is a position that I stepped into about a year ago. We're the center for educational resources for culture language and literacy so in addition to the shared mission of the language resource centers that Carl already mentioned to build this capacity for foreign language education in the US our particular focus is on those the ways in which language and culture are or should be integrated in language education and the development of literacy and we think of literacy in the kind of multi-literacy sense of involving multi-modality of involving also digital literacies of involving cultural literacy and looking for the ways in which those intersect and so when I started talking with Joanne and Carl about this project the literary in the everyday felt to me like a really good concept to think with to bring all of these different aspects together in some sense in a way that felt big enough but also coherent enough to really get at this these really creative aspects of language that happen in everyday texts and to use that as a way to foster awareness and language learners of the various ways in which language does a whole lot more than just communicate instrumental or propositional meanings that it does a whole lot of other stuff that we often don't get a chance to address in the beginning and intermediate level classrooms. This is adapting kind of a multi-literacy framework it also resonates with other areas such as digital humanities because we're talking about all kinds of new genres that are coming out new digital forms and importantly it it is a joint project between our two so it's a collaborative project between our two institutions our two national foreign language resource centers and we're making a commitment a four-year project commitment so this workshop is really kind of our launch today and as I said what we want to do is create a community of practice and bring it back to programs around the country so that you start to know how to do all these different things that Joanne and now we're hoping that all of you many of you will also become participants because one of the things about open educational resources is that they're not just open to use they are importantly that but they're also open in that people work together collaboratively to develop them to further them to create new manifestations of them so we're hoping that many of you will be not just hearing about the project but be part of the project as it goes forward and we'll be talking a little bit about those opportunities throughout the workshop. One of the things that teachers need to understand is that copyright is actually a bundle of rights so it's a plural concept and if you ever see the C in the circle is the trademark for copyright and you've all seen the C in that circle it's usually followed in English texts by three words all rights reserved which means that you know it's like this I'm taking all of my toys and you're not playing along with me but importantly it's a plural concept and we're going to break that down into its constituent parts attribution is only one part of copyright. Copyright is hundreds of years old so it preceded the internet by a long time and it doesn't make a lot of sense for the digital age it's a little wobbly and that's what we're trying to do now is update our notions of copyright to be able to instead of saying all rights reserved I'm going to reserve everything for me it's some rights reserved you all get to negotiate the relationship between your texts your authorship and how you want to give that away to other people okay including whether you want other people to make profit on your materials because some people are terrified by this concept of what I created I wrote an article I'm going to give it away and then you're going to cannibalize that this has to be a legal system creative commons is the brainchild behind this will be showing you the creative commons website creative commons licenses have now held up in courts of law all over the world because it's not remember that little video I showed you open education is not just something that's happening in the United States the video was actually made by an African team it's a South African team and again coming back to the notion of a social system that gets closed down we're really focusing on opening up education and so it's more important in countries in Africa for example where they don't have access many people don't have access to materials at all because it's out of the reach of teachers many of you work in institutional context where getting credit for things you produce is really important for various reasons either to demonstrate professional development to get promotion to get tenure things like that and so one of the things that we want to talk about at the end of the project and think about with you is also ways in which open educational resources and hopefully projects like this can help us also to make visible the kinds of work that people do in creating educational materials that often get a little bit obscured in some of those institutional contexts they don't count in the same way that for example research publications do so how do we integrate things like peer review system and credit giving into a project like this is one of the things that's on our minds so for the next say 20 minutes if in your groups if you can exchange present the text or text that you brought in why what you think is the or the dimensions of the litter in the every day for you what your notion at this point in time is of the litter in the every day and then afterwards we'll have maybe about 10 minutes so that we can kind of just get a sense of what different groups have discussed and what some of the key concepts are that are coming out of your work and I want to say also not everybody does their homework so if you are here and you didn't have to bring your text with you then you still we can still talk about yes the concept what does that mean what as she said what does it invoke for you the literary in every day and you might imagine then some possible texts that would exemplify that category make sure that you have a sufficient number of texts to talk about I think and then these concepts of rather than us telling you what the literary in the everyday is how do these texts represent that and then also looking for differences and what you brought in but also in the perceptions that you have around those texts an explanation of sorts of what the literary in the everyday means to you so the text that I chose had to do with immigration and we were talking about different aspects of immigration and I don't think that we've ever lived well as far as we know that we've ever lived in a time where immigration has been a topic which has been discussed more throughout every media through conversations at the dinner table through arguments with friends and that sort of thing and we felt as though immigration very much is a text about immigration is very much a representation of the literature in day to day life because we're seeing it played out in the news we're seeing it played out in a variety of different places but the thing that we found very interesting in a conversation is that immigration always seems to be covered or discussed in terms of the other from the third world coming to Europe or the United States and we realized in our discussion that immigration is not always that type of phenomenon and we want to consider looking for texts which talk about different types of immigration around the world to better represent literature in daily life I will say notice that you say literature in the everyday and the phrase is the literary in the everyday yes so exactly exactly so other yeah and then Adam sorry he showed us a first year French position and even there you could find something that has some aesthetic quality between the first approachable with another one and applicable we stick to another kind of authentic effective aesthetic approachable or I overheard something where one of you in the group said it's engaging when you get it which I thought was a really interesting observation is that was the Adam so I'm still with the A okay right that there's an effect with an E this time but there's an effect that that happens when you interact with the text which I think is interesting yeah so I'll ignore it you have to try to interact with it you have much more of a first image represent and then you put them together birth came that I that is an intersection of this note from the literary in the everyday language that's literally surrounding us that you see so billboard draws you into thinking about it and I think that's where I see a connection between those examples and then also the immigration text something that's an everyday discourse in the literary but it de-familiarizes that everyday discourse in a sense I teach a course and we finish with Simón de Boguá and it occurs to me in this the word every day is the most important word for me in this workshop adultery is everywhere on the news related to fidelity and lying and all these things and so asking students to identify the ways the metaphors that are used the words that are used to describe those phenomena in everyday life how because adultery of course is is ever present everywhere and then sensitize them to maybe metaphors that are used to advertise gone girl and then transfer of that sense of the literary in the everyday and advertisements and things in the reading advertising to the kinds of things that we encounter in a literary text so that's kind of a traditional way of thinking about it and then my partner here talks about that being possible using song as well music obviously all of the discourse the ways that language is used in song so we're sort of going up with the theme idea I don't know if we're off the off track there but adultery is just human very productive as it were not be reproductive in any case which is considered you know very high some of literature is not always accessible to students they don't necessarily like it because it requires a parallel of thinking you know sometimes you get into poetry through music and their songs because the words to songs can be very literary they can be not very at all they can be very quotidian pedestrian even but it's still art and it's it's still a literature as I was moving around in the groups and it's been echoed a little bit in what you've been saying people I've heard uncertainty expressed in various forms but I'm not sure if that's what the assignment was or if I'm not sure if that's what you're looking for or I'm not sure if that's how you're conceptualizing it and I wanted to say that the uncertainty I think is part of the project in some senses um in some ways the term everyone has a response I think I mean when I was going around nobody seemed stumped as in I have no idea what the litter in the everyday could possibly mean this is such a strange concept everyone had responses to it but they were quite different responses so both the diversity of ways in which we can interpret that as well as the the ways in which people react to it I think are why it's for me a useful tool to work with but in our conversations in the summer this is not meant to be the corrective definition but I want to show it because it picks up on what a lot of people have said we in our discussions among ourselves started to come up with well how do we understand this and we also were coming from different perspectives that overlapped in many ways and we came up with as a starting point three ways of thinking about the literary in the everyday which I've heard in various forms in what you've been saying and so one is the literary and everyday genres so the receipts I heard recipes over here in a group the advertisements we could talk about whether pop music fits in this category or in the next one and so this is where this literariness puns and metaphors and different kinds of language play using words in unusual ways with something I heard brought up features into every what we would consider everyday kinds of genres then there's also the ways in which there's literary production about the everyday which I think is part of what you were talking about right that every text that we would consider literary poems or short stories or novels will bring in everyday language the vernacular I think Claudia was talking about medieval texts that feature vernacular language in various ways so the ways in which everyday discourses or everyday language ways of speaking come into these what we would consider conveniently to be literary genres and then the third category which I think I mostly take responsibility for but was my attempt to try to get at something else that I see going on sometimes which has to do with the ways in which what we conveniently consider literary texts kind of cross over into everyday practices and spaces so we talked about linguistic landscapes here but one of the first examples I had in my head was if you're sitting in a bathroom that has graffiti and there's a quote from Shakespeare on the wall what does that then become in that moment exactly because it's in this really kind of gritty everyday context but it's a high literary example or things like literary tourism where people I was just in London and for those of you who know Harry Potter right they have the cart that's sticking out of the wall so all of a sudden it feels like you're in the Harry Potter novel what do those moments have to do with the literary in the everyday and there are probably other categories that we haven't even conceived of but I heard a lot of these echoed in the groups some of you had responded to the request of bringing in a text full it's just reading over those responses and I'm sure that that was incorporated in some of your discussions today was that to to sort of echo what what Chantel was just saying this concise phrase the literary in the everyday evokes so many associations and so many interpretations and that is actually the essence of what this project is about so what I wanted to do is to give you the teacher's guide that I created for my text but the literary in the everyday which gives you a much fuller sense of what my thinking was in constructing this concept of the literary in the everyday so I want to just go over some of the key terms with you now this is not to say that this is what it must be and how it needs to be interpreted it is a starting point and what is so exciting which is why I keep saying I see this as the culmination of five years of in a sense work on my part and now it's about opening it up to other people to interpret but there are I would say there is at least one dimension to thinking about the literary in the everyday and that has to do with the notion which was of course a big part of the MLA report of 2007 but the question then became well what does that mean has to do with an approach that comes from whether it's from cognitive linguistics or sociocultural theory or systemic functional linguistics it has to do with understanding language as a semiotic system of systems for meaning making now that's a mouthful and a lot of people feel alienated when you try to talk about that every grammar reference book and all of our textbooks in foreign languages really approach or have that assumption of language as a computational system of rules and exceptions to rules so being able to think about language from that very different perspective of it as prototypes a language evolves a set of prototypes which are then available and prototypes can be words they can be phrases sentences extended passages whole discourses genres it's all of those pieces that then become available to manipulation to create new forms of meaning and this is something that is the hallmark of difference between the lower levels of foreign language learning and education and upper levels people assume that you cannot engage in this way in the metaphorical in the literary in the poetic at the beginning levels even though the MLA report said they created this wonderful arc of a curricular arc of literature and culture from the beginning language to the end but how do you practice literature and culture really in in the ways that at least I felt to be most meaningful to beginning language learners so the literary again from my perspective refers to the plasticity of language the resonances the multiple layers of meaning right that either single words or complex structures or whole discourses can convey so it is the metaphorical the poetic it's the resonances of meaning that tie language to the mental imagery of the speaker and that's another dimension that rarely I mean words language in the abstract is not meaning bearing not only do you have to put it into context you also have to kind of get into the mental landscape of the writer or the speaker and we often just ignore that dimension because we don't really have a sense of how to approach it so the conceiver's construal the imagery right that is shaped by personal experience and all these different levels of layers contextual groupings that the cultural context that that the individual experiences so the literary then is also emblematic of language as culture so it's really I called my approach to this textbook transdisciplinary I'm really trying to plug into the commonality between language literary and cultural studies and say we can do this from the beginning if we think about language differently if we approach language differently so then the every day has to do with the basic sort of language and textual prototypes that are so typical of those first years of language teaching and it's every day for communication whether it is a literary text or a non-literary text right and this is something that again the the assumption has been for so long that you cannot engage students at the lower levels in this kind of work so this is at odds though of course with that curricular arc that the MLA report talked about and that's something that we're trying to address and hopefully you'll agree once you see examples a little bit later that this can be done and can be can be done right from the start so the concept here is also that when properly implemented this approach allows not only for playful manipulation of the linguistic system it actually can improve grammatical awareness if you don't expose students if you only expose students to a very narrow concept of what language is then their notion of the grammatical system cannot they're not exercising it in a way that's allowing them to see that plasticity and it's cognitively inefficient to have so many exceptions to rules it's just not the way that language functions right and how our brains sort of work with language so it also then promotes symbolic competence as well as communicative so that was the the sort of the framing concept again it's very open and for you then to see as you start working in this vein if you to see how the kinds of assumptions that you came in with the sort of understandings interpretations that you have how this might fit within this very open framework and maybe there might be things that you'll have to question about about and open yourself up to if you're willing to thinking about language in a different way and very importantly too we've been talking about open texts and this is something that yeah in your groups we heard I heard a lot of discussion we heard discussion of people saying yes but we're constrained we have to use a textbook you can choose you can create an open lesson for a copyrighted text so you can actually use the texts that are in your textbook and take a very different approach to them so you don't have to change your curriculum in that sense right the other thing is that you may choose to work with the textbook as it is but maybe create or substitute one open text instead of the textbook text so there's a lot of room for working in this vein from the very small incremental way to if eventually if we have enough people who participate and we can archive enough materials that you can actually then create a supplemental reader reading writing supplement to a textbook use the oral oral component from a textbook in supplement reading right so as already alluded to what we're going to do is transition a little bit away from more conceptual more notional discussions of the project which has kind of given you a flavor for where our thoughts are and where this is heading and to talk a little bit more concretely about what we've been making and what we hope to share with you and what we hope for you to participate in and so the first aspect of that is i'm going to show you a little bit of the website and that's going to if you have a laptop or device you can go ahead and pull it up the url is flight with two ls f l l i t e dot org so that's foreign languages and the literary in the everyday and it also makes for delightful puns so it's literary and everyday in itself as well what i'm going to talk to you about is the materials component of the site and these are really the key things that we have or are starting to have to share and that we're hoping many of you will also maybe develop down the road and then we're going to show you a couple of examples one from my project these are fairly new you'll be the first people to see them really other than a couple of my graduate students who have kindly given me feedback on them and then joanna is going to show you some of the examples from the textbook for french that she's created and i know that many of you teach french and german but many of you don't so our purpose is really going to be to show these as examples of what what these kinds of materials can look like so we'll walk you through them and walk you through the logic of it so if you're teaching other languages or work in other languages that are not as of yet represented in the site we still want to use this to invite you in to participate so the first thing is the materials page if you are following along and you're at that website if you click on the top nav bar on materials you'll end up where i am i hope so we we have in mind you'll see that some of these are populated and some of them are really works in progress four kinds of categories under materials that i want to talk to you about and that gives you a good idea of the different levels of the project as well the first is perhaps the most obvious and that's texts and we'll be talking carl in particular will be leading you through how to find open texts how to do a tribution for them how to do creative common licensing and what those might look like and so what we'll have here what we have already is the start of a repository of open texts various levels of open so some of them you have to not modify some of them you can modify we'll talk about that later but texts that can be used as resources so i wanted to make one comment here and i heard a couple of you discussing and you were saying oh you thought i meant text books it can be both when i say a text it could be just a short text a literary text or a text book we're really going to be focusing though on the notion of what is a text and some and like creating lessons around a passage or a short literary text so that's we work we didn't have in mind the notion of a text book per se but if you're super ambitious you're going to create lots of of lessons and maybe you can make your own textbook otherwise we're just taking some kind of small today creating a lesson around the chosen text but absolutely a text can be multimodal so i'd notice you were playing songs right away in music and so you can have them listened so we can add listening and speaking and so yes and even visualizing as we've been thinking about pedagogical practices and how to describe them the multimodal coming in as well so we'll we'll be talking about the metadata and i think when we get into that that will also show you some of the ways in which we're trying to categorize and make searchable and make transparent some of these aspects and that that'll kind of make clear that this multimodal aspect is also there listening and visualizing the second level that we have is lessons so these are open educational lessons often around an open text but not exclusively and that was something else we heard coming up in the discussions is that some people want to work with what we might call a closed text so a poem for example that's been authored or a particular text that shows up in your textbook that where the lesson doesn't quite work for what you want to do and you want to create a new lesson around that same text so these would be open lessons that other people can use other people can perhaps modify other people can share with attribution again that will come back to but they are often but not necessarily around an open text if that makes sense then the third level and this goes back a little bit to the textbook concept although it's not necessarily a textbook is what we're calling collections and what we wanted to start to do is identify for people and identify among ourselves sets of texts that either work particularly well as a unit as a module perhaps as an entire course or sets of texts that work particularly well with commonly used textbooks because i know especially for some of the so-called more commonly taught languages there are textbooks that many institutions use so what are some of the collections of texts that might work with that textbook so this will be the space in which we'll be identifying these groupings various kinds of groupings of lessons and of texts that a person might want to work with and the idea is to kind of create that as a professional development exercise as well so that part of the part of the editorial function of the site is not just having a dumping ground where we put maybe really excellent lessons but they're not articulated but rather to have that flexibility where you can use them as one-off lessons but you can also start to identify well what would it look if i threaded these together in some kind of way as part of a curriculum and then the fourth which is a little bit different the fourth kind of materials that we want to share are what we're calling case studies and so these will be small almost kind of action research informal fairly informal but action research narratives or descriptions or small studies of people who are working with texts and lessons and collections from the site and so that's something we hope to build hopefully with many of you and also ourselves into our own teaching so that people can have that professional development element of what does it actually look like to work with these materials and they can get fleshed out a little bit in the practice in addition to having those those different discrete items there so i want to make a comment about the case studies so i was saying at the beginning that what we hope to do around this website is create a community of practice so the whole notion of the community of practice is based on informal learning where people develop an identity based on a set of practices and the group teaches each other then how to do whatever it is they do and the original research and the original kind of concept of community of practice started in the early 90s with some anthropologists who were studying alcoholics anonymous among other groups because alcoholics anonymous they teach you how to maintain survival there are practices so there are all kinds of informal learning groups including how to then construct pedagogical materials and the case studies then can be a description of for example where i found my text which is a very important bring you look for things how did i manipulate it what was the reception my my user-generated materials in classroom so these kind of case studies i think are a crucial point in telling other people how to do this it can be case studies of how people adapt or transform existing lessons because one of the things that i think is really important is that taking into consideration all these contexts you might find a lesson that you're really intrigued by but for example it was developed for a second year collegiate course and you teach in a high school and you think to yourself this is exciting but i'd have to modify it and one of the things that you might want to then add is another version of that lesson because these are open resources but also maybe a case study about this is why i modified this existing lesson and these are the reasons this is the logic for that and in that sense that narrative also becomes an element of professional development as you help other people to think themselves into not just what's there but what can i do with these things make sure you tell us if you if you try to tackle a lesson what worked but what didn't work