 So this is going to be fairly organic. It's fairly informal. But the idea is it really does help a lot to see other people's examples and to get ideas from them. Sometimes it's also really productive to just come up to the front and share what you have and get a little bit of a response and make you realize how much you've actually done. But we're not going to force anyone. But is there anyone who will go ahead and step up and maybe get things started and share what they have? Chris, too. We're not supposed to force you. We'll all say yes and. I'll do it for you. Come on up, then. Yeah. Break the eyes, too. All right, so like many, it's a work in progress. So that's for you. Hi. Is this working? Great. OK, so let's click down here. I was the one that gave you free beer. So first off, just so this is. So this is just kind of a slide show that I started coming up with. It was really actually to help me organize myself. This is Lenin's Wall in Prague. And the whole story behind it is when. So actually, I'm going to go ahead and. So actually, there's a couple stories. The story behind this project is I was there a couple summers ago. And I met this guy who was just a really sort of lively, gregarious, outgoing guy. And he wanted to help me by creating some videos. So we went around a lot of sort of cool sites in Prague. And he helped me make this video. And so let's just. This is my project reality check. And so we went to this wall. And the whole story behind this wall is that when John Lenin died, checks came and started painting this wall. And I'm going to actually turn down the sound. So here he is. And I'm going to skip a little bit of this. But he's just basically kind of giving a background to the students about John Lenin, the history of this wall. And so we'll just kind of skip. And I just kind of want to show. There's a lot of Creative Commons licensed and public domain images that are used throughout this video after he finishes describing it. Then I will go sort of. There's even some video that people had put on YouTube that is under a CC license. So this kind of started with this. And then going through, I found even more video that could eventually make its way into the lesson. But I want to actually go ahead and just go straight to my document, which is right up here. And so the idea was to play with the language that I'm seeing on the wall. It's an international city. And this is a tourist attraction. And there's nothing like traveling and then realizing that you can leave some paint on a wall. So a lot of people actually write, as you can see, there's a lot of English. That's actually OK, because I think it actually helps getting the juices flowing. When they see English, they kind of start to think about, oh, that's the kind of stuff they're writing in English. Now I can kind of get into that check mode. Here, the biggest word that you see that's going to come up in a second is laska, which means love. And we're going to come back to that in a second. I started here with just a little bit of a reading. I took this from Wikipedia. And I edited it slightly just to give them some background. It's all in English, because I don't want to spend a lot of time on this history. Show them how you've licensed that. This is good practice, what he just did. So underneath the image, he's got the John Lennon wall, which is the title of the image. And then he's got the person. And then he's got the license. Yay, that's the way to do it. I've been doing this for a while, by the way. This is four years into a Creative Commons licensed curriculum for Czech, so. My point is that it's better to put all that information with the image than put it at end notes. Google Creative Commons just likes you to do that with images. Keep it close to the image. Easy to read. So I started off with this word laska. And I actually hadn't written this part of the assignment yet, but the idea was, and actually the next image I was going to put in here is a picture of a blackboard. I like to put those kind of things into my assignment, so it just kind of inspires you. What are you going to do next? And the idea would be to, OK, here's just one word. Let's work at the lexical level as a kind of a warm-up for the class. So what are some words that you could imagine yourself writing on this wall? What is John Lennon, the memory of him, the memory of his music? What does that inspire you to write? And so I can imagine people writing words like love, peace, truth. I'm sure. Imagine, exactly. And in fact, all those words are on here, just in mostly in English, but that's OK. And so then I started to kind of look around for check. And when I found check, sometimes the check was maybe something I didn't think was all that interesting. But I found a few instances of interesting check. This one actually says, John, we believe in you. And it's a neat kind of construction because this doesn't come up very often. But it's something that we do believe in things. And so why not be able to maybe kind of practice that construction that seemed very prominent to me? And so I made a little word cloud of things that I immediately thought of. And so I put words, love, beauty, truth, good, people, peace, God, honesty, miracles. So what are the kind of things that you could imagine saying that you believe in? So we get to suddenly with this sort of rich context of this wall and then, OK, I'm going to express myself. It's suddenly much more than, OK, today we're going to learn how to say believe in and fill in the blank. Let's get the correct, accusative forms of all these words. I mean, you need that grammar to get this right, but this suddenly puts into a much richer context. Next thing I found, I really liked this. This is a very simple counterfactual conditional. If I had not gotten to know John, I would not know how to love. And so again, getting them to come up with something that might be sort of important in their life that they could then say, if I had not, right? And of course, you're going to get, if I had not overslept yesterday, I would have done better on the test, right? That's fine, right? We want them, though, to come up with these kinds of context. This context is, I think, rich enough to get them kind of get the juices flowing. Now, the history behind the wall is that it actually was a location where people would write various messages during communism to each other. They put poetry on the walls. And so this was actually something from 1977. I don't know if this, as far as I can tell, this is not a famous piece of poetry beyond that it was on this wall. My Google Quotient couldn't find it anywhere. So this is actually interesting. I've started to wonder about this. I mean, is this copyrighted text? I don't know, but there's a picture of it, right? So I was in the middle, I think, when I was in the middle of putting a citation here, or an attribution, rather. But I'll go ahead and read the poem to you. You see, yako rosa vrani travie, si denk teri ses rodiov pravie, si slunsek teri aranov stava, si svezhimnyaka hepka trava. So you can hear that rhyme. Travie, pravie, stava, trava. I'm not sure exactly how I would come up with a rhyming sort of game or getting them to play with that, but it could involve them creating their own sort of pseudo poetry. Again, for all of these activities, just like I had them writing the one word, we're kind of spiraling into more complex, right? And so everything is gonna involve, I like the idea of having a big piece of paper, maybe on each of the four walls, and they go around, and so we start off, and they see the evolution throughout the day. So by the end, they're putting up some pretty complex stuff. And so, yeah. And then the last thing is this somewhat very cheesy love poem. I won't read it to you in check, but I'll go ahead and translate it. Hi, Teresa. You, my most beloved love. I want to caress you, kiss you, hold you in my embrace. When I take a sniff of, it's not very good English translation of poetry. When I take a sniff of your hair, that doesn't sound, I don't know. Sounds worse, right? Anyway, so moving on, right? So I will, apparently that sniff of her hair is going to help him to change the entire world by love, transform it, into a beautiful garden that is sweet with honey, soft like moss and guiltless, like a flower. My heart beats and beats bump, bump, bump, bump, only especially toward to approach your velvety lips. I love you, Andra. Okay, so then we can get them to make their own sort of expressions of hopefully some sort of positive emotion, love. And so that's where I am. It's not a completed assignment as I said, but that's what I've got. And if you have any comments, questions, or just want to hear from somebody else, then I am. My comment is that you, I think this is a brilliant place to start. I love how the words and the images are going together here. I mean, it's such a great example of linguistic landscape and multimodality. And I like how you're, in a way, the whole notion of redesign is there because you're taking parts of it and then using them as prompts for people to do other things with it. So yeah, I think this is absolutely right on target for flight. I just, I love the redesign actually then becomes a wall? Yeah. I'm stealing that to do something but it's because then you get that layering over. We should be building a certain type of wall in our classroom that's not. Yeah. As a response to the Berlin Wall. Yeah. Inspired different types of walls. That's right, at the end. There you go. Right, I don't, you don't want them to spray paint it on the wall. No, no, no. But markers and paper are good, washable. Yeah. I just had a comment that you could also talk about the visual of like the colors and the spray paint and you could potentially pull something in with that and then how that adds meaning to the sort of like freedom aspect that you're just like painting on a wall. It's very public. It's also not something we typically do in like daily recreational activities but it's like got more of that graffiti feel. Yeah. Yeah, no, exactly. And I even got, so one of the, one of the, I love that it's a hippie concert right in front of it. But there's people actually painting and so I like that as an inspiration even having that, like taking that video and looping it while they're, so they can just kind of see like, this is what it's like, you know, you're painting on that wall. So, yeah. Well, and also they know people who are painting, they know that it will be ephemeral because you were talking about how it gets it. Right. Yeah, but I'm gonna keep those papers. But that invokes a desire to express something that's maybe different than if it's going to stand for all time. So there's that maybe spontaneity or that, you know, that freeing. Exactly, yeah. Is it on? Yeah. It's on. Hi. I'm Kelly. I'm a PhD student here at UT in the Department of Middle Eastern Studies and I teach Persian. So I have a lesson that's in Persian but I will translate it for you. Yeah. I mean, you wanna crash course. So yesterday I had these big thoughts of doing something about like getting around Tehran and using maps and things, but it wasn't working so I scrapped that and instead I picked a poem by Forugay Faroqzad who was a very famous, well-known woman Iranian poet who unfortunately died very young in her 30s. She was famous for being sort of depressive, lonely, but I don't wanna give the students that context before giving them the poem so it's not like clouded by that knowledge. So the poem that I picked is called Gift. Here's the Persian but I'll show you the English. It's very short. Can you see that okay? Yeah, okay. It's about six lines long and I'm really happy I found it because in second semester of first year the students will know almost all of these words. So they'll be able to deal with it in Persian sort of authentically before I give them the English translation. They'll be able to work with it some. So let's see. So it's called Gift and I decided to start with a little warm-up activity where I will ask the class, you know, talk with your partner for three to five minutes about the last time that someone gave you a gift. What was it like? What gift did you get? What was the occasion? How did it make you feel? Do you still have that gift? Do you use it? When do we usually give each other gifts? Right, we're thinking about birthdays or Mother's Day or Christmas or in Iran, no rules. The new year is a really, really important holiday where you might exchange gifts with someone. So just getting them to think about the word gift and then make predictions about the texts that they're going to read based on their own experiences and assumptions. So do you think, what do you think the subject of this poem will be if it's called gift? And then from that, I'll give them the poem in Persian and they'll work by themselves for a few minutes, reading it, let's see. Oh, okay. So they don't know that it's a poem yet. So I've given it to them, they'll read it to themselves and then I'll ask, okay, what kind of text is this? They'll probably say poem and then I'll ask, okay, why? Why do you think this is a poem? What about it says poem to you? And then I'd like them to determine, okay, is this a classical Persian poem? Is this a modern Persian poem? How do you know? What about the structure or the theme or the content? Tells you that. And one thing I would like to point to for them is the spelling convention here shows me that it was not written in the last like 20 years because today we would separate the me from the zanam, haif mu zanam. So that's just a little spelling convention that they'll need to learn to recognize when they're reading texts in the future and that gives them a hint about when it was written and how old it is. Okay, so that's the first reading that they do by themselves. When was it written? Yeah, okay. So then the second reading I'd like them to do with a partner, so with whoever's next to them they'll read together. And this time I want them to pay attention to the sounds of the poem. So what sounds or words are repeated? We have some repeated words in the first little stanza, right? I speak out of the deep of night, out of the deep of darkness, out of the deep of night I speak. There's a lot of repetition there. But then in the second stanza we don't have as much. So there's a little bit of a difference there. So thinking about what's being repeated. Oh, in Persian? Okay. Yeah, okay. So man az nahoyate shab harf mizanam, man az nahoyate tariki, wa az nahoyate shab harf mizanam. Yeah, so it rhymes a little bit. Yeah, it's really nice. So they'll think about what's repeated and then what else did I say? Oh, okay. And then what sounds or words or phrases kind of stand out to you? Does anything sound weird or strange or deviate from what you might expect? And then, Oh, okay. And then what did you feel when you were reading the poem? What sort of feeling did it give to you? What was your personal experience with this poem on just like a pure observational level, right? So we're starting with the personal and then we'll grow into bigger observations. So once we've done that, I like to put them in slightly bigger groups when they're talking about bigger picture things, bigger questions, so three to four people maybe. And here's when I'll give them the English translation, although I'm open to suggestions and criticisms about this, I'm not 100% sure. So I'm thinking I'll give them the English translation here for reading in a slightly bigger group and this is when I will ask them the bigger questions. So who is the speaker? Who are they speaking to? What is the mood of the poem? And finally, the sort of bigger question is what is the meaning of the title? Why is this poem, oh, right? I speak out of the deep of night, out of the deep of darkness and out of the deep of night I speak. If you come to my house friend, bring me a lamp and a window I can look through at the crowd and the happy alley. Why is it titled gift? What does that have to do with the content of the poem? What does that mean? Is that conforms to your expectations or assumptions about what you thought the content of the poem would be based on the title alone, right? There's a big difference that I see there. And then finally, for the last activity I'm thinking, I'll give them the poem but I've taken certain words and phrases out of it and now on their own they have to refill those blanks with words or phrases of their choosing so they're completely changing the meaning of the poem. So it becomes sort of their own creation, it teaches them about poetic interpretation and manipulation of words and sounds. But yeah, that's mainly it. I'd love suggestions or comments, so thank you. Oh yeah, well I was actually inspired by a lesson that's already on the Flight website. It's the Chinese one about the Hungry Hungry Caterpillar. I noticed that they did the same thing where they took out certain words and then gave it back to the students to fill in on their own. I was like, that's smart. I wanna do that. Yeah. And can I just note something from that lesson that I noticed you're doing here. It's not a typical sort of hey, do you remember what the poem is supposed to be, right? It's a, when you change these words, how do you create a new poem with a similar sort of structure which really focuses on the meaning and not just the have you got it right. I think that's a really productive activity. Another thing to tie that into your question of offering a translation. It can be interesting if you find two translations and then see what differences there are and how that, I mean that can be a prelude if you wish to, then having them change the meaning of the poem by using other words. Yeah, that's a really good point actually. So it's not just giving them, oh here is the translation and then locking people into though, this is what this poem means and opening them up to the fact that people are going to translate things differently. Yeah. Have you thought about integrating gift giving practices? Oh no. Yeah. Yeah, that's a really good idea. Perfect. Yeah. Get at the rich points, right? And that's good because the new year, NoRus is in the middle of March and that's like the middle of second semester of first year. So that can be a good. Because I was thinking the same thing, the word gift in the translation is already set springs in the cultural baggage right from the beginning. So I mean Americans are gonna think of birthday presents and Christmas gifts and no, this is a completely different cultural framework. So I think it could be interesting. One thing you could do is ask Persian speakers to associate and create a word cloud and then have your students do the same and can do a comparison of the word clouds. That's really cool. That's actually very doable and you could use that in the lesson. I think that'd be pretty cool. That's a really cool idea. Yeah. Thank you. Actually it was from the very beginning to the end I just checked her presentation. It was wonderful. We both speak Farsi and English and the way that she had arranged the work, I mean presentation or lesson plan was wonderful, especially the last activity. The time that we both checked the translation that is done but kind of famous professor in one of the universities in Minnesota. UCLA. Yeah. So we just both agreed that only the two lines of the end of the poem are translated in a good way. All the other four lines didn't make sense to us. Yeah. So that is what I did to ask students to rewrite a translation again as the professor mentioned. So that's great. I've done that with some things and the students, again it's this notion of moving back and forth between the two languages which kind of raises to their awareness that it's so hard, meaning just changes from the two different spaces. But yeah, it's like this is an old concept of translation that we're kind of rediscovering in multi-literacies because it used to be, no, every state in the language but you have to have the two languages together to see how the meaning changes. Yeah, actually the time that we were comparing both texts, I took a photo of the English one and just I said, can you just show the Persian one when the time that we checked and kind of they were quite different. So one thing that I've used in doing a translation activity is to say everybody talks about what's lost in translation but there's also stuff that is gained. So you can talk about what is there in the English translation, that's not there in the original and then I actually had a student who said, oh, there's a third category. There's kind of what stays the same because like the literal, sometimes there's just a bottle as a bottle and both cultures and it's okay. So I thought those three categories like what changes, what's the same and what's kind of new is kind of, is very helpful. Yeah, in the English translation, they added the word friend. It's not there in Persian. And then I saw a different English translation and they added the word darling, which is not there. But. How would you translate it? Darling. Well, there is no word. So they're trying to emphasize that they're speaking to a familiar you. They're speaking to toe, not show-maw which you can see in the conjugation of the verb, which is something I'll have the students look at, asking like, okay, who are they talking to? How do you know that they're talking to someone close to them? And one word that was kind of difficult to find, something that we call daddy chain Farsi and even the native speaker, she couldn't find the word for that stuff. What is the thing that is smaller maybe from window? Kind of maybe pass it that you can see the beyond so I don't know if you have it for English or not. Like a really small window. We have it in Kurdish. Maybe it's a really small window. Yeah, that's what I said. Small window. So maybe we can take it from Farsi. Vit? How small? No. I don't know. There was a term, I can't think of it right now, yeah. People? No, but now? It's bigger. Called Razune. In Iraqi Arabic, we have a word, Razune. I'm sure this is not Arabic. Yeah. So it's either Turkish or Persian. Me is like a very small window you can look through. It's not like the regular window. Right. Like a portal? Maybe a portal. No. Like a little bit of the term. Yeah. Probably. Port Hall, yeah. How long is your lesson? So this would be for about a 50 minute class period. How long like time assigned for practicing? For what? For practicing. Practicing? Meaning? Meaning like away from presentation, you're going to present your lesson and the time assigned for practicing with your students. How long would I say? What do you do versus the students? Oh, what am I doing? Deep practical part of your lesson. Right. So most of the class time is the students working. So I'm just introducing questions to them and then putting them in small groups and saying go. It's primarily a student center. Yeah, yeah, absolutely. Great. Yeah, getting the students to be reading and speaking as much as possible in class and interacting with each other. Yeah, oh, and then I didn't mention, but at the end I want sort of like a big group discussion where I kind of call on the smaller groups. Okay, what did you talk about in terms of the meaning of the poem? What did you talk about? And I don't like to limit those discussions. I kind of let them go on as long as the students want to talk about the poem. And since it's second semester first year and we're talking about the meaning of a poem, if there's something they really want to say that they can't say in Persian, I'll let them say it in English because it can be frustrating to not be able to express abstract ideas at that level. Oh, so I'm okay with that, you know, once in a while. Thank you. Yeah. Yeah, that's nice. Okay, so nothing special. Just the text, reason in black on white. So, but why I chose this text because this person, she's 11 years old and she's describing her attitude towards family. So, and what family means to her. And what she says here, she says that she was abandoned by her mom and her grandma brought her up, but her grandma died and she was alone. And she also describes how important for her it was to have like love that's the only thing that she wanted from her mom was love. And her new family, she was adopted after that, after the death of her grandma. And her new family is very lovable. And she says that she believes that happy family are possible and happy families, they exist. And for her, what happy family means, it's just mother, father who love her. So, and I planned a lesson for intermediate Russian students because for my lesson, I decided that, you know, so it's, what? No, no, no, we're very impressed. It's like you're already using this template. I mean, we forgot that we didn't show you the template, but you're already using it. It's good, it's good, yeah. Yeah, but you forgot about my partner. So, he's been with you for five years. So, of course I'm using this. Okay, so, and usually when people present like topic about families, we kind of, we are all familiar with family trees and everything. And I kind of think that I decided to kind of broaden it a little bit, yes, and not to talk just simply that this is a father of my father and this is a mother of my mother, but just started talking about what family means in your life. But of course, since we discussed yesterday about familiar text, I decided to begin my lesson with actually like any family tree. But why? In order to review family vocabulary, because anyway she uses, yes, the words such as приемная мама, it's like adopted mom and grandma and father and everything. So, students need to review the words. So, after that, actually before that I planned. So, before that, yes, I decided to begin my lesson with just discussing what basic needs students have, trying to elicit in probably the word family. So, and if somebody says that family is important for them, then that after that I wanted to brainstorm the ideas what actually they associate, what words they associate with the word family. And again, because I understand that for some students it can be something good, yes, and for some students it can be like a touchy subject or something painful. And so, after that reviewing the vocabulary with family tree and after that reading the text. So, together, and also what I loved about the text first very simple grammar, very simple vocabulary because it's 11 year old student, yes, but at the same time it's narrative, but it's authentic and it's full of date of case and we need to cover the date of case with intermediate Russian students and the book that we have to use at our department, the book covers date of case in the topic of family. So, that's why the text kind of worked perfectly for me. And what I was thinking is so to read the text to point out very important phrases, yes, and also like maybe grammar, because like some phrases like family is important because it gives people warmth, causeness and love, yes, just help students maybe to translate some words if they don't know them. So, and after that talk with students what emotions, yes, this text evolved in them because I believe that it's like sadness in first because it's like really touchy and happiness at the end, yes, because she actually found happiness so with her new family. So, and after that maybe practicing some phrases with them, yes, asking them questions what family means for them or so that they could use some phrases from the text in order actually to practice the vocabulary and practice the grammar forms. So, and after that, just a sec, what did I really answer questions? Okay, so, and after that I thought that after we practice grammar forms with them and practice the vocabulary and phrases, they could probably write their own perspective on what family means in their life and also in order to maybe give some options for students who like for whom it's very touchy, I thought that maybe they could describe a family of their dream if they don't want to write about their own family, so. Nice. Can I share something, and you tell me if I got it wrong because I don't speak Russian, but when we were talking about this yesterday, one thing you pointed out to me about the dative in Russian is that it's used in these expressions of want and desire. Yes, yes, I need family again. And also the sound play, because this text, yes, it doesn't have a lot of deviations or is this extraordinary patterns and everything, but at the same time the sound play because it's always new family, new family, new family, new family, and I need love, I need family because yes, this is dative. And I think that the sound play, if students underline all the words, they just see it. The reason I wanted to mention that is because I think this is a really nice example of where it's not just this text has the dative, hey guys, look, here's the dative, remember how we showed you that, here's what it looks like again, but the dative and the way you describe the text to me is really part of the message structure of the text. And so that's this content and grammar coming together, not being two separate things, but really the feeling of the text is conveyed through that dative. And also it's like, it works perfectly because in Russian it's also about the, when we say our age. So you can see the number 11, yes, it's dative. When we say who we have, like parents, grandparents, or what their names, we also use dative. So it's kind of really perfect text for present and dative to students in the context of family. And also about the copyrights. This is what I asked, yes, this morning, because this is how I prepared this text. So when I brought it here, so for my student, because I actually, I didn't take the whole essay because it is very, very long. And because I finished it at the point when she said that she's very happy, but after that she started describing much more of her new life. So, and we discussed it and it's kind of, it's less maybe than one-third of the essay and we decided that it will be probably all right that I'm not breaking the copyright here even though so we have this letter seen here, so. This reminds me, I had a student who teaches French in a high school and she did a lesson on families too. I don't remember her original text, but her redesign, the task, the very, the final task of the lesson was they had to write, as you were saying, they had to write a description about what was meaningful about their family, why they loved their family, but she had them write it, not typing it, but in handwriting and she had them write it as a card and the cards and she said, now I want you to send it to your family. So they actually did it in class and then she took them to the post office and sent them back to their families and then arrived and then what she did is a, she said, okay, your family's gonna receive this and you're gonna have to translate it back into English to your family, which I thought was a great idea. Yeah, that's so some, and it reminded me, I don't know if it's a bit off topic, yes, but that's what I did with my students a few classes ago because I asked them how often they gave flowers to their moms or to their girlfriends and they said, never? Or like once a year maybe when it's a mother's day and like, but in Russia, yes, it's an absolutely different culture. In my culture, like men, they always give flowers like to women and we kind of, it's like, it's so offensive that they don't give flowers and one of, so yes, and I brought them like 10 poems written in Russian, which are called give women flowers. Cause you can have plenty of them online, but two of my students forgot about their oral exam. Can you imagine that? And they didn't come, so they came to class and I was like, okay guys, I came up with a punishment for you, for like for your bad memory and they're like, yes, and what is it? Today after class you go to the store, you buy a bouquet of flowers and you give them to them and like to your moms. So I don't know if they did it, but I hope they did. Yeah, sometimes it really works, but they were so scared. Punishment, what's punishment? And they're like, yes, just going by flowers to your moms. Hey, Matt. Howdy. I had to say it, yes, thank you. Okay, so my language focus is Spanish. Can I see anyone who works with Spanish here? Okay, we have a few of you all that work with Spanish and so it's a work in progress, so for all of you who just pretty much have an outline, this is perfect, because that's pretty much what I have and I'm just gonna go through this outline really quickly and tell you what my vision is, okay? Now, let me click right here and then, so this comes from, this actually comes from, my available design that I had is actually at work that I did with Dr. Zapata on a lesson that we worked on to teach the differences between poor and patas, so the resources right there are ready for you and we pretty much introduced. We also have an open educational resource when it comes to the Spanish grammar rules that are very detailed and have some little quick examples, just an FYI on all of those and so this was the poor and pata and they had to listen to a song and then they had to write some lyrics using the differences between the poor and the pata, right? And it was a quick 50 minute poor and pata lesson, but I did realize when I taught this course and I taught this lesson specifically, the students were way much more interested in the differences between poor and pata, they really wanted to learn more and they were very engaged, so this is why I decided for my project here in the workshop to redesign this lesson and take it to the next level so that it could have more focus for the students and see what we're working with, right? Now, let me show you my outline. Now some of the materials that you're gonna see here, the materials that you're gonna have here for this outline for the new poor and pata avanzado per se, we still have this song and the song, it's about, it's this guy, last time I checked, this song was in fact, the song was in fact creative comments, he had open licensing, but I couldn't find it right now to give it open licensing attributions, but the guy's just talking pretty much about his mom and so he's just pretty much there on and singing and then so what we're gonna do next, the next two materials, I have the poor empatati and this is actually text from my classroom from students who I taught last fall and their students and this is their raw lyrics, I did not edit them whatsoever because it's as authentic as any other work in the Spanish language, so yes, there might be some grammatical mistakes, but it is what it is and it's authentic, I don't know and so that's what we have now for the introduction, which I actually did complete it, it's at the very top and I'll show you, the students, we're gonna start with the whole concept of what is poor empata, do you know anything about poor empata and what can you tell me about it and if you don't know anything then that's okay and then I give you two sentences, describing poor empata and based on university, so vamos para la clase, estuvo en Texas por dos meses and so can you tell me why they use poor empata and then I give them the link to the grammar in case they need that extra help and then antes de leer, vamos a escuchar, verdad, porque tenemos este video, we have this song and this song is gonna introduce and it's gonna close the whole lesson and then we're gonna listen to the song and I still want them to know, to pay attention and to tell me their differences, why did the author use poor empata and I give them specific times in which they go and they look at the sentence because it is a lyric song and the song doesn't have, this is not like a major artist in Spain, it's just a guy who sings and puts it on YouTube so there's not an actual lyric, like written lyrics, it's just a lyric video so I tell them to go back to this time and describe to me based on the rules why they're using each and then we go through this whole discussion and we talk about the rules and the reasons why they use the poor empata and then we start the next one, right? The next section, vamos a escribir, vamos a leer, actually, vamos a leer and then we go on and we read the two lyrics that you have over here at the bottom from these two students and we start having more of this conceptualization and analyzation of the lyrics and start asking ourselves, why did the students use poor, why did the students use para, right? And I know some of us, heritage speakers, some of us who have a lot of experience with Spanish may have some debatable questions as to why that student put poor when it should be para or et cetera but then we need to think of the author, why did the author chose poor or para based on the rules that they're learning? So then you can have this whole discussion with your classroom and say how it's working and then to say, well, are you really wrong because you use poor or para, you know? And so then you can create this whole discussion and just so that we can, the student can be focusing on what's coming up. Then after this, we're going to escribir, right? And in my peer review, my feedback was really good and then the feedback they gave me is give them certain themes. So I'm gonna give you a theme of queso, right? Everyone knows about queso and so we're gonna do a t-chart which is another feedback that I had also and we're gonna put poor and para on this t-chart. And then I just want you to write down, you know, kind of start doing an outline of this lyric about queso, right? And once you create this outline for queso, then you start creating your lyrics, the lyric of your rap, of your song about queso, using poor and para, kind of basing it on the writing that you have from actual students who took your course a semester or a year before and the song from a singer who has had it beforehand. And so we have that and then we create this environment of collaboration by doing some peer review and having the students pair up or getting groups and start analyzing those new lyrics that they are creating based on the things that we give them, right? And then finally, once we have done all that process, you can already see that the students have been exposed multiple times on the differences between the poor and the para. Then we have more of this presentation on moral communication and we invite students to come and actually rap their songs in front of the class about poor and para and queso. And that's pretty much how we conclude this whole, this whole vision that I've not done, but I definitely have outlined there for you. Okay, thank you. Comments, questions, feedback. I'm sorry, I'm not a Spanish speaker. Can you explain to me what is poor and para it's like the poor in English. Right, so that's what I figured out, but when do you use when? It's, what is for like, what is it? You had two good examples for me yesterday, although I won't be able to do the Spanish. What I remember is your example was, tell me if I'm wrong, para was, if you're handing me the cell phone, I have the cell phone para ti, right? For the benefit of you, right? And okay, and poor, let's see if I can retain this. And poor, your example was my heart is burning for you, where it's the poor is the motivating thing, right? Okay. And so it all gets taught in like a structural way, like para plus an infinitive, things like that. And there's another way, but it's hard to get at these like semantic big differences because it kind of breaks down. And as a learner, Spanish, this is really, I can't remember. But I think so much of it goes back to the fact that in English it all translates to the same word. Yes, sure, sure, sure. Like it's not, at least semantically, they're distinct, but because in English it comes back to the same word, that's where the distinction comes in. So what about doing something with images, because since it's conceptual grammar, I'm wondering if you could even have the students, as they're writing about, because it's queso that they're gonna be writing. I love this, yeah, that is so fun. Maybe you have images that are part of it, or even the original text, right? They could, maybe they could illustrate parts of the original text or something to get at that visualization. Cause one of the, I think, and not I want to speak Spanish either, so tell me if I'm gonna get wrong, but the song plays with the close semantic relationship between those two, right? That they're both there in the title and that it moves between them. Yes. And just to Carl's point, when you showed me that textbook example, it's one of those grammar points where there was like an entire page with 20 bullet points and I thought, oh, as a learner, I'm just gonna memorize these bullet points, but here it plays with the concepts. Well, and I'm thinking even, just like when you were explaining the distinction to me, it's you were gesturing, right? So is there any gesturing that happens in the video to the song? Yeah, so that's what you're writing. Oh, yeah. And I haven't thought about gesturing, but that's definitely one point that I would kind of like foster, especially if I have the students coming in and they're kind of like, you know what I mean, if they really get into the lyrics that they're talking about, then they can really give us this non-parable. You probably don't want static images for this. You actually want some sort of movement. So it could even be play acting you do in the classroom to get them to understand conceptually. Something, probably. I'm excited to learn something. One of the underlying mechanisms, and I'm too tired to think of the word right now, but has to do with notions of proximity and distance. Can't think of the linguistic term for this, but often native, huh? Native doesn't matter. Often native users will often use in non-canonical ways because it depends on their conceptualization, their construal. So if they're thinking of presence and being here, then when you talk about things that involve movement from one place to another, so a lot of locatives and prepositions evoke these kinds of differences of usage, depending on what the mental starting point is. And I'm not being able to explain this right now because I'm too tired. But in any event, it might be interesting to see if you can find examples of native users who are not using poor and par in canonical ways, and you might start to see that patterning. She has that with the non-native speakers, right? Right, but you're saying non-native users, but if you can also find that with native users, it starts to then give credence to the fact that there's another level of mechanism that's going on in terms of cognitive categorization, and depending on where you're thinking as the point of departure and where is the point of arrival that you're gonna, I don't know if I'm making any sense right now. One of the things that I can do that, I could even go further and analyze deeper the lyrics of the song, and then see, and then even see if I can play it with a poor and par and change it. Right, there you go, there you go, there you go. Exactly, exactly. It would be like, how would you feel if he would wrap it with par instead of poor, and see how the student plays with it, right? We had the discussion with one of my, one of the peer reviewers that I had earlier today, and in that discussion, we were having, they were like, well, it should be poor in one of them, right? In one of them, we're like, and then it's like, oh, it should be poor here, but then we were also talking about like, well, it really depends where your Spanish is coming from, where you grew up with the Spanish. So that poor and par and difference can really make a big impact, which is why I like the fact that we can have that kind of discussion with these L2 learners and say like, okay, what is their reasoning as to you using either or? Well, in that second text, the yoria todo para ti, exactly. You could use either one there. Yeah. Okay, right. Meaning changes. Changes. So Dixis is the word I was trying to think of, right? So is it a question, sometimes, of mental representation of where you're projecting from? I mean, I'm throwing that out there because I'm not sure that a pattern's out in this way. I know that there are examples in English and in French where that's the case, and often with locatives, that's the case. Isn't that as simple as close and far? Right. It's how you're construing it. I want to say that this is, earlier today, Joanna said, I want to take issue with what Carl said about communicative language teaching. I joke. I know I misspoke. So the point is that a lot of text are just used to exemplify the grammar point again and again and again. You're doing grammar play in a flight kind of a way. You're taking the grammar point, but you're playing with it within a text because the text is playing with it, and that then teaches them what the rules are and how to play the rule. So this is a great example of what we were getting at. So yay. Thank you. You're welcome. And I've also cited the two little lyric poems for my students. All the citations are over here at the bottom. If you wish to use those, for example, you can use them in your classroom or anything else. And so pretty much everything here, it's already cited. Thank you. Yeah. Thanks. All right. Okay. Thank you for having me. A chance to discuss my lesson plan. Okay. The material that we have choosing could be taught like depending on different levels. Like if we're dealing with beginners, you can use the subject play using subject verb complement the SVOV or if you are dealing with more advanced levels, you could be dealing with pragmatics because it has more of presuppositions and implectures. We have like if you're dealing with writing, there are several different use of tenses. You use like present simple and the same stands up past tense and future. So we're gonna talk about beginner level, okay? And the period of time, we have 40 minutes. And the objective is to enable students to identify and produce pronouns in terms of positions and functions. That is subjects pronouns and object pronouns. Ciskals is writing and target is pronouns, object and subject. And the strategy that we're gonna follow is PW, peer work and GW that is group working. And the material is George Michaels. We can use pictures of George Michaels and the lyric itself and the handouts that will be submitted to the students to do the practical part. And it is divided as follows. Five minutes are assigned to warming up like we can play the song. So this is to get students like in touch to get their motivation to the lesson. Procedures we're gonna play the song and the students will listen along like they're not gonna work in pairs it's like one to one like between the song and the students themselves. And then we have 10 minutes for peer work and group work interactions like students are gonna be divided into groups and they're gonna like discuss what they understand from the lyric. And that is reading the lyric and underlying the pronouns. And then they have five minutes like to work with larger groups to check their answers to make sure they agree on the same answers. And finally we have here comes the production part of the lesson which is divided to using like you can add more pronouns to the lyric or you can substitute nouns by other pronouns in terms of subject object pronouns. And finally here comes the teacher's part which is like given feedbacks to the students like to make sure they all comprehend the lesson totally. Yeah, and here's the song. We like we play the song first just to make sure like they understand the lesson carefully. So I didn't understand the last what you were saying about pronouns you wanted them to replace pronouns with a noun? It's like you can deal it with different way. Like the way we're gonna like use we can replace that there are certain pronouns that are omitted in the poem. So they need to apply the to use the pronouns in the poem. Would you like to bring that back up the text? Yeah, yeah, yeah, yeah. That's why I didn't I didn't have the text in front of me. I like that idea now and that I understand it better. Yeah. So we have like a bar play pragmatic and the repetition of words. Yeah, so now I understand. As you said like presuppositions this is stuff that they already know. So it has a very different feel if I supply information that if it's presupposed and I know that you know I don't say it but if I put it in that has a very different feel pragmatically. So that's really a clever idea. I like that. I didn't understand it at all at first but now I do. It's a great way of teaching presupposition and why you might not want to say things because it's given. If you say things that then it shows that I don't really trust you to understand everything. It's great. It's great. And one more reason for choosing this song is that everyone in my country loves this song. Like it's really famous on computer. So students will get crazy like to know that their lesson will be about this song. And secondly, like protecting myself from copywriting because like you can use these songs however you like. Yeah. Yeah. So where would the pronouns connect? Like, yeah. Should have known better than to cheat or fail. Subject, object pronouns. Like they can, first they underline okay and they recognize the positions and the uses and then comes the production part. They can substitute nouns with pronouns or they can like use their own sentences using the same pronouns. Any problem? So do you mean at the beginning of the third stanza they would write in I should have known better because the I is missing? Is that the kind of thing here? Yeah, like that. We're helping students to pass the test usually with the I'll send TOEFL. So normally we start a sentence with I or now. So this is the purpose of the lesson. So then the natural question is why do you not have the I in written English? Yeah, like here we're dealing with like spoken English. It's normal like we omit and to make it short but with standard written English like we need a subject of very complicated. There could be like other things but we are like shedding lights on this stuff like with writing we should start with subject. And even we, there are like starting sentences with ands and we're trying to teach them standard writing where it's not preferable to use ands in the first sentence. Because it's a confessional and I don't know if it would be intimacy or something to, I know you have particular goals for looking at that. I would dive in a little bit to my notions of it. Yeah, probably if you're dealing with the poem from different perspectives, yeah, probably. And another thing might be in terms of equating stress timing and the rhythm. So it may be that there are choices to have fewer syllables in order to fit that stress timing and the rhythm. I'm wondering kind of playing off of this idea that it's a kind of confessional. I'm wondering about if you could get at some of what you're trying to get at through shifting the context a little bit as a redesign activity. Imagine your students into, this is a court case where one of them's suing the other and he has to explain the same set of, right, he cheated on her, I think, I guess. So he's having to stand before the judge or write down his legal testimonial of how he cheated on her so that the judge can decide if she can take all of his money or something like that. How would the language be quite different, right? You would lose the pronoun you because it wouldn't be addressed to her anymore. You would lose a lot of the informal language, you'd lose some of the emotional language. I mean, it could be interesting to explore those pronouns through, how, where would you suggest? We can make a great deal of pragmatic play from this one. Yeah, you can, yeah. But the, I mean, that redesign activity changes the pragmatic parameters, so you're right. That's to be formal, right, yeah. Can't sing it. I'm just having flashbacks to seventh grade. Flashbacks to seventh grade, and I, You got cheated. I know, I didn't know, I didn't know, I didn't know. But I love this song, we used to dance to it, slow dance, and it was the serious song that I went slow dance to. We had no idea what these lyrics meant, but it was like, there was something like so, so emotional about it, and romantic on some level, and it was so disconnected from the lyrics, you know? Like I think most seventh graders, you know, back, yeah, I'm dating myself now, but I mean, it's just, I wonder if you could get into that. Does anyone else have that connection to this song? No? Oh, that's sad. There it goes. Seventh grade. Becky Millory. Next recorded. Oh my God. Oh, it's so funny. No, no, no. Nobody's gonna admit to having that relationship. I don't think it's a full-time, brutal thing. Yeah, yeah, yeah, yeah. Wow. There's a movie out that just came out, I've been talking about, it's called Eighth Grade, it's not Seventh Grade, but it's close enough. You should go see it. It's awkward. All right, thank you. All right, thank you so much. Hi, I'm Beth Ann Dorn from Duke University in the University of North Carolina, Chapel Hill. And I selected this text. I came in with the idea of wanting to do something that I could immediately use within our curriculum. So the text I found is in the fifth unit of our textbook for intermediate German, Stazionen. The text is called Schließt euch an. The great thing though is the lesson that I've been working on doesn't, you don't have to use it within the context of Stazionen. Depending on if, let's see, you wanna talk about transitions, cities, or the reunification in Germany, this would be a great lesson to use. So the lesson actually starts the night before. I have a mini homework assignment. Patrick gave me this great idea to assign a YouTube video called the calm before the storm. Students will watch it and then describe or make a list of adjectives that they think of when they think about the phrase the calm before the storm. And the music video works well with us because it has a lot of muted tones, the colors are grays, blues, et cetera, and the music itself is very calming. So with that in mind, my students will come in having a list of adjectives and thinking about this phrase that we are often the calm before the storm. But I wanna begin our class discussion actually with the image of the city. I'm gonna put this in presentation mode. So here we have what you would see in Germany and almost every city. And I asked the students to describe, how would you describe the city center? Of course, we'll get a variety of answers. It could be an American city center which is very different from a German city center. And then moving towards a German city center, we'll have a list of phrases that we can work with talking about business, people, markets, et cetera. With that then, I wanna come back to the phrase the calm before the storm and ask students where we've seen this in film and novels and music, et cetera. And how will we describe that within a city or how would you feel then if you saw that this, like a city center was empty? With that then, we transition to the text itself which is a really interesting piece because it's very poetic and it's historical but it has a lot of language that is surprisingly lyrical. For example, the beginning of it said, in the beginning paragraph we have rumors swirl. You don't hear this often in German. So the reading process is gonna be in three parts. First, students will skim the text highlighting phrases, words they don't understand. Go through it again, looking at what words they can actually understand because of context and then with partners discuss what remains unclear and then moving forward we'll discuss all of those things. In the chapter that this text comes up in the book, our main grammatical point is sentence structure. It's not anything new, it's actually a review of German sentence structure. So we break down complex and simple sentence structure. That's one of the things that I wanna discuss with the text itself. So we will talk about what words remain unclear, what phrases stand out and what words seem to be unusual, have we never seen before. With that then, we'll move to the grammatical. What kind of sentence structure do we see? And from that, the grammatical and the lexical will talk about this is a different kind of piece of writing that we're used to. What kind of writing could it be? That said, where do you think it comes from? Would it be, and then of course, students might come up with a novel, a film. And in our curriculum, by this point in the semester, students will have read two screenplays. So they will be used to that genre. The whole point of my lesson is to have genre play. And with that in mind then, we talk about what are some of the genre conventions that could be? If it's a screenplay, what might we see? If it's a novel, what might we see? And then of course, the big reveal. It's none of those things. It's actually an article, a narrative essay from Spiegel, which is the German equivalent to Time or Newsweek. Probably better written than both of those though. With that said then too, we'll give a little context. It's written in 1989, right after the large demonstrations in Leipzig. And what that might mean. Students will have been most likely familiar with this historical moment in Germany, especially if they've gone through our coursework at this point. Depending on how other people use it, they might have to do a little bit more introduction with this historical moment in Germany. With that then, we'll talk about what this means culturally. And Spiegel is a West German publication. What does it mean for a reporter from West Germany to be in East Germany reporting on this moment of protest? Ultimately, I will assign the entire text. This is an excerpt. It's three pages long. And there's no way we can handle that one class period. This slide is a placeholder for more information about the protest itself. And then what I ultimately want them to produce is talking about their own transition, their own moment where there's calm before a storm. So the text is a description of how the city center of Leipzig empties out before this protest begins. It's eerily quiet. Nobody's in the city center, except for some drunk people on bar stools. So, and then there's this transition, this moment of change where 50,000 people come to the middle of the city and have a peaceful protest and even police officers join in. So I want students to think then about what is a moment of change in your life? What happened right before it? And then write a short paragraph for homework that evening using German's instructors. Coming to the picture that you owe the Time Magazine, the one that said, the one that said, yeah, the candor prostitution and whatnot. What are you planning on doing with that? I got a reaction. Sure. And so like, I know nothing about German. So are the students, how are you gonna play with the image to? With that. Again, that's a placeholder for that particular edition. In the book, there are some other images from the essay itself and I might use those instead. I do think that's provocative and we could bring up the nature of the publication. What does this mean to have a picture of child prostitution in third world countries on the front page of a news magazine? What kind of readership would that produce or things like that? All of this to be, the other thing is the chapter before, again, going back to the context of our curriculum, we talk about media and media production in Germany. So it'd be a great way to say what are the goals of this media outlet? Yeah. Okay, cool. And then by then in your curriculum, they're already gonna be aware that this version of the magazine is more westernized than or is that new information? Just curious. You know how you were like saying. That's a good question. I think they will know it implicitly, but it would be good to bring up explicitly in class. They may not know the full history of it. Okay, thank you. You mentioned that there's a lot of poetic usage of language in the original text, but I haven't heard that you're asking your students to incorporate that in that kind of foregrounding of language in the redesigning task. Do you, is there any patterning or have you been able to identify use? Is it just adjectival? Maybe they can create interesting combinations of adjective nouns in their redesigning task. I mean, in other words, you wanna incorporate some of that potentially in. That's a great idea and scaffolding that even before that task. So if I'm having students think about some of those adjectives with the calm before the storm, what are the adjectives and the adjectival noun pairs that they could use for their own description? Yeah, that's a great point. Thank you. I really, I love this lesson. It's also about the redesign task. I'm wondering if that media thread could be threaded all the way through to that as well. So imagining a context in which they're not just writing an essay, but for whom are they writing an essay and can they also bring images and make it a multimodal work with layout a little bit and those other aspects. That's a great point too, yeah, okay. So I was wondering about the metaphor, the calm before the storm, because when you described it, this is a, the storm to me, I was thinking of some cataclysmic event, but actually it's coming together of 50,000 people, but they were orderly, right? They were, okay, that's kind of interesting. I did wrestle with the metaphor for a while, what would work best. I wanted something that would tie in the text itself, which talks about calmness before change. And I couldn't think of a phrase in English or even in German that would draw both of those things together. But if the song that they're gonna be watching the night before talks about the storm as a form of change, so we might be able to discuss that before talking about, so then tying that into this protest, not being something that's destroying, but actually bringing about something very good. Right, well, I mean, the idea of a metaphor is it's not perfect, it has multiple dimensions, so you could play with that a little bit more, since that is what you, and part of the redesigned task, you're having them do the multiple dimensions behind the metaphor itself, so that they don't get too literal even with a metaphor, you know? One of the things is I'm looking at this, this is a very, I'm sorry. As I'm looking at this text, and I haven't seen it in a long time, but it's got a very clear narrative structure to it. It's almost like a model narrative structure, and you could really exploit that in the lesson, because you have a lot of temporal markers of when things happen, and then this, plötslich, suddenly, right? That's when it all starts, and the quietness, it's like the energy, and I think the word, well, Spannung, even, tension. Right, zeltsam, an eerie tension, right? So yeah, I think you could do a lot with the genre play, right? And then, particularly with the narrative. I think that's a great idea. I originally had, when we would go back to the text to talk about the language that stood out, highlighted each of those temporal markers, and some of those other phrases that I found unusual, but I didn't want to lead the audience too much, but that's something that I could bring back in. Yeah. Thank you so much. Thank you. Thank you.