 My name is Carl Blythe, and I want to welcome everybody to Coral's webinar today, presented by Joanna Lux, who is coming to us from Cornell University. Joanna is a senior lecturer in the French program, and of course she'll be talking to us about the project, her project, foreign languages, and the literary in the everyday. But before we jump right into the webinar, let me just give you a little bit of advice about how to proceed in the webinar. This is going to be somewhat of a virtual conversation aided by her slides, so she'll be talking off of slides like a PowerPoint. We encourage you to ask questions and to make comments, and you see that you have a comment box, so please give us feedback during the presentation. We'll be bringing those questions and comments to her attention, and then there will be a Q&A session at the end. And also, this webinar will be archived, so that if you have to leave the chat room or leave the room for any time, you can come back later on. And in a week or two, we'll have it posted on the Coral website. You can then relisten to it. And I also want to remind you that we're going to have a survey at the very end. This is actually very important for us, because of course this is coming to you thanks to taxpayer money. This is U.S. government funded, and these surveys are really an important requirement for us, so please help us help you by filling out the survey. It only takes just a couple minutes. Okay, so let me jump to our first slide here. The literary, foreign languages, and the literary in the everyday. As I mentioned, Coral stands for the Center for Open Educational Resources and Language Learning. We are one of 16 National Foreign Language Resource Centers, and we're all funded by the U.S. Department of Education as a Title VI grant. The flight, what we're calling F-L-L-I, well, the acronym Flight Foreign Languages in the everyday, is actually a joint project between Coral and another National Foreign Language Resource Center, and that's Circle at the University of Arizona. And so I have to get that out, and we'll be talking about this website here, so flight.org. It's a very easy URL to remember. So if you want to follow up this webinar and visit our website, we ask you to do that, and you'll find more information about this project. So as I mentioned, it's a joint initiative between Coral and Circle, and there are really five, or excuse me, there are really three co-directors. There's Joanna, who will be speaking today, and then myself, and Chantel Warner, who I hope is joining us from the University of Arizona. And the three of us have been knocking around this idea for about a year, and the real idea behind this is to take Joanna's concept and to teach other people how to do this. It's essentially crowdsourcing foreign language materials. That really is the idea behind this. What we want to do, the three of us, me and Joanna and Chantel, is build a community of practice of foreign language educators, helping each other develop really interesting kind of cutting edge materials for foreign language learning. And Joanna has kind of a multi-literacy approach, but she'll be talking more about that. She wants to extend meaning by playing with conventions, and she'll talk to you about what that means, how to play with the prototype. And essentially, what's really important to this approach is to bridge lower division and upper division, and that, of course, is that intersection between the literary, not just literature, but the literary and then the everyday, which is really kind of that interesting intersection there. And the last thing I want to leave you with before I turn it over, turn the floor over to Joanna, is this is part of a webinar series or part of an event series that we have for the flight. So in April, we'll be talking about how to create activities. After you learn today about the basics of the flight approach, then in April, we'll be having another webinar to talk about how to create the materials themselves. In July here in Austin, if you can make it, we're going to have a workshop, and Joanna and Chantel and I will be available and hopefully helping people develop their own materials here at the University of Texas. And then in September next academic year, we'll be having another webinar on copyright and open licenses, because that's really key to turning an educational resource into an open educational resource. Okay, so that's pretty much everything. I'm going to turn it over to Joanna. And Joanna, can you take it away? Okay, so can you hear me? Carl, can you hear me? No, you can't respond. So anyway, okay, this is Joanna in Ithaca, New York, and we've gone from the warm climbs of Austin, Texas to the colder climbs of Ithaca, although today is in the 40s, so I'm not complaining. Before I begin, I would like to say a very big thank you to the Coral team, to Carl and Natalie and Sarah and Pat, not only for the work that you've done, of course, in making this webinar possible, but the flight project possible. And then I'd like to thank all of you for tuning in. So my first question though will be, can everybody hear me? And is the volume all right? If not, please let us know. So apparently all is fine. Okay. So I wasn't actually sure how I wanted to begin this introduction to the flight project, but then I began thinking about the expression to take flight. So on the one hand it means to take off and fly, and on the other, metaphorically, to flee out of fear. So it seems to me that there's a parallel with the title of my textbook, The Literary in the Everyday. On the one hand with the mention of the everyday foreign language teachers have a sense of can do, but the literary strikes fear into the hearts of some because it's interpreted to mean a text that's difficult to understand or that students may not feel prepared for, or that's just not their thing. So the goal in large part today is demystifying what we mean by the literary and demonstrating how this understanding of language, not of literature per se, but of language, bridges the intellectual divide between language and literature. So as for the agenda for this webinar, this first webinar in the series, I'll begin by developing the concept of the literary as it's used in this project. And then we're actually going to work with two example texts, one in English so that I can actually walk you through the steps of finding the literary in a text, and the other in French as an example of a flight text for beginning level students. And finally I'll introduce social reading and a sequence of interpretation strategies that exemplify at least some of the flight project's pedagogical objectives. And then I will be responding to your questions at the end. The flight team or the coral team, I should say, will actually be fielding your questions if you're writing them as this proceeds, but I'll hold off until the end to respond. So during this presentation I will be referring to documents in the flight website, and if you want to access any of these documents you will need to go to the resources page and actually I'll indicate that. So under the how to rubric at the very end you'll see flight resources. So the full framework in fact for the literary in the everyday represents the coming together of a number of strands of thought, and the way that I conceptualized the literary was inspired by prototype theory as formulated by Eleanor Roche. So prototype theory falls under the umbrellas of cognitive psychology and cognitive linguistics, and it has to do with how we categorize objects and experiences and what those words mean in mental representation. So Roche's idea is that a noun has a prototypical meaning, and that consists of the best example of that category. So if we look here, again I'll try to do this, if we look here at the center, look at the center of the circle, we see the prototype as Robin, and that actually comes from polling people in the United States asking them what bird seems to best exemplify the concept of bird, and that's what a majority of people say. So Robin then constitutes the prototype or best example of that category. And then you have expanding circles of increasingly different members of the category until you get to birds like penguins and ostriches, you can think of them as the outliers, that don't fly, but that are in fact still birds. So applying this notion more broadly to how a language makes meaning, we can think of the range of meanings and uses that a word can have as metaphorical extensions of this prototype. And the word metaphor, of course, comes from the Greek, means essentially a transfer, a carrying over or an altering of meaning. And so the flight project takes metaphor out of the more restrictive realm of it being a literary device, you know, a metaphor or a simile, and it uses it in its broadest sense. So a quote that I think sums up very aptly the integral role that metaphor plays in language is this, everything transcends the reality of what it is, either you go mad or you learn about metaphors. So the first framing assumption for the flight project is that a language is a semiotic system of meaning making as opposed to a computational set of rules and exceptions. And then more specifically, a language evolves a core set of prototypes, and this is what we talk about with forms in language teaching, for words, grammatical functions, syntactic structures, and sounds. These prototypes are then available for generating further meanings and uses through processes of metaphorical extension. And essentially what that means is you take the prototypical meaning, modify the form and or the context, and you create new significations. So another dimension of language that prototype theory helps to bring to light is that prototypes are culturally defined. So if we go back to the example of Bird in the United States, the prototype may be Robin, but in Australia it might be Parakeet. So there are also individual variations as well. So this understanding comes or relates at least to schema theory, and it gives rise to a second framing assumption for the flight project. And that is that we're talking about the literary as the metaphorical, as the plasticity of language, the resonances, the multiple layers of meaning that words or structures or texts can convey. So going even a step further then, these resonances tie language to the mental imagery of the speaker or writer. So our imagery is shaped by our personal experiences and the physical and cultural contexts that constitute the world of the individual. So in that sense the literary is also emblematic of language as culture. Now if you want to learn more about the theoretical framework for flight, you can read the teacher's guide for my textbook which is linked again in that resources page. Alright, so I'm going to show you a text that exemplifies this kind of language play, and it's actually the beginning of a short story by Ernest Hemingway. And the title of this short story is The Gambler, the Nun and the Radio. And this is the opening paragraph, the first paragraph, and I'm going to ask you to take a moment to read the text and also to ask yourself this question. Does anything stand out or strike you as odd or unconventional? So I'll give you a moment to read and to reflect. The prototype of a narrative text is to begin with what's called the orientation. So introducing the characters and setting the time and place for the events to come. Now in terms of language use, this is conventionally accomplished at least in part through the prototypical meanings of the article system. So in definite articles introduce unknown or new information, and then definite articles refer back to those noun ideas that are noun, known, or old information. So, but here however we see that Hemingway begins his story with definite articles and pronouns, and that forces the reader to fill in the contextual gaps. And one way we do this, one way that we have of knowing which things are being referred to, is from whole to part relationships. So if you introduce the idea of a hospital, you can then talk about the corridor and the night nurse, etc. So in fact what's interesting is that Hemingway omits the whole and he refers to the parts but we can still piece together what he means. Now starting a narrative with definite articles is actually recognized a literary technique. It creates the effect of jumping into a story that's already begun, and we feel motivated or intrigued to make these kinds of mental deductions from the given context clues. But here's the thing that Hemingway actually goes further to do something that I've never seen before. He extends the notions of indefiniteness and definiteness even farther to further subvert the genre by creating a temporal shift with articles. So let me show you the second paragraph and I'll ask you to take a moment and read it. So using indefinite articles in the second paragraph, Hemingway introduces his characters by shifting to a time when the reader did not yet know them. This is a temporal shift that would more prototypically be achieved by the use of the past perfect tense since the story begins with the use of the preterite. But Hemingway in fact maintains the use of the preterite for both events and creates a shift instead from known to unknown through articles. Now native users of English can fill in these contextual gaps automatically from intuitive knowledge of English, but for language learners to make meaning out of this text, it's essential that they have explicit knowledge of the prototypical meanings for indefiniteness and definiteness. And from there they can begin to interpret how Hemingway plays with these meanings metaphorically so that the reader can identify the who, the what, the when, the where, and the why of the story. So going back to Eleanor Roche's prototype theory, she points out that the best way to learn a concept is, the best way to learn a concept is by teaching or showing, sorry, the best way of teaching a concept is by showing a best example for the prototype. But here's the rub. In standard foreign language practice, teaching practice, there's a long held assumption that students at the lower levels should only learn the prototypes of a language, so the primary or concrete meanings of words and the rules of grammar, and only when they reach the higher levels should they begin to work on the metaphorical level. However, if learners are not exposed to metaphorical uses of language or what I call the literary, they cannot gain mastery of how a language makes meaning. And ironically, by working with the literary, it helps to clarify and reinforce understanding of the prototypes, which improves students' accuracy and appropriateness in language use. So the Flight Project embraces the fact that all aspects of language have the potential for the literary. This understanding allows the project to respond to the challenge set forth in the MLA report of 2007, which is to say that the literary can be found in the language of the everyday and scaffolded from the beginning. And fear not, teachers and students can begin by working intuitively. So the first step for teachers is finding the literary in a text, and to help you to accomplish this, we propose the following categories for the literary. And all of these categories relate to this idea of generating new meaning. So generating new meaning via sound play, visual play, word play, grammar play, and here we mean things like paradigm subversion and grammatical metaphors, genre play, which can include genre mixing and intertextuality, pragmatic play, perspective play, by playing with different points of view and perspectives, symbolic play, and finally, culture play, right? Subversion of cultural practices and products. So to give you some examples of this, to flesh out the idea a little bit more, I'll give you a moment to read through these and see if this... So in the Hemingway text, I found genre play, but the subversion of storytelling conventions and grammar play, the subversion of the conventional dynamic between indefiniteness and definiteness. So in the resources page of the flight website, there is a document called Finding the Literary in a Text, and it includes a longer excerpt, in fact, from Hemingway's story, along with this list of metacategories to help you to discover these dimensions in the text. And here's the thing to keep in mind. You may interpret the categories that I've outlined differently, or you may find other categories in the text that you would prefer to exploit pedagogically, and that's exactly the point, right? So this kind of work is about how texts make meaning, and there are often a number of ways of interpreting the same information. But here is a tip. Be careful to always work with the original version of an authentic text. If, for example, you want to apply notions of the literary in the everyday to a literary text in the textbook that you are currently using, be mindful of the fact that textbooks sometimes edit out the literary, right? And this is how deeply ingrained this assumption is to not expose students to metaphorical uses of language at the lower levels. So to further help you in exploring these dimensions of language play, the flight website also provides a number of example lessons, and these are all centered on texts that encode one or more categories of the literary. And we're going to look at an example in just a moment. But before we do, I'd like to first address the question of what the everyday in the literary in the everyday means. So, you know, pretty simply it means the language and textual prototypes that can be either written, spoken, or visual, right? Text in all of its many instantiations, and used for everyday communication. So everyday, that can include everyday genres, things like singles ads, personality questionnaires, jokes, social media. Also literary genres about the everyday, that could be anything, but for example poetry, fairy tales, narratives, essays. And then also literary references that are recontextualized in the everyday. So things like blogs, graffiti, memes. You know, we often, in our everyday communications and lives, make reference to literary texts and images and film and incorporate that to share with our interlocutors. So the example lessons on the website in French come from my open textbook, Le littéraire dans le quotidien. And the example lessons in German come from Chantal Warner's work with the literary in the digital everyday. And I'll show you now an example from the first chapter of my textbook. So you see here the frontispiece of this first chapter. And actually, I include a frontispiece for each chapter because I want to include visual play for pedagogical purposes, right? So it's an image that encodes layers of meanings tied to chapter content. So this chapter, as you can see at the top, is called What's in a Name? Because it's a play on words with the French word non, which means name or noun. And it was designed to address a grammar problem that students encounter right at the start of their study of French. So in standard commercial textbooks, the first chapter typically introduces students to nouns in order to anchor the notions of gender and number. And these nouns tend to be tied to vocabulary of the classroom and to the functional language of introductions, and in particular to identifying someone's profession. And this is fairly typical as a way of starting language study across languages. But here's the problem in French. In French-based nouns, meaning a noun without an article, are used attributively when naming someone's profession or status. So you say in French, elle est musicienne, il est étudiant. But in the English equivalent, you would have to use a noun with the indefinite article. She is a musician, he is a student. So in standard textbooks, this usage in French is treated as an exception, right? So one of the classes of nouns, everyone talks about, oh, names of professions, of religions and political parties, those are the nouns that you can use in this structure and in this way. But as a result, it remains a sticking point for learners, right? So they want to keep adding in that indefinite article when they write this very simple sentence. But here's the interesting thing. It turns out that all nouns in French can be used attributively when properly contextualized. And this is what this looks like in spoken French. So imagine a scene, two students arrive in a room to study for an exam, and this is their exchange. Tu es plutôt table ou bureau. So do you prefer studying at a table or at a desk? Au moins je suis très table. So me, I'm more of a table person or I'm more into studying at a table. You could say things like, il est très ordinateur, he's a real computer freak. Ils sont vraiment café, they're really coffee crazy, right? So these are examples of grammatical metaphors. And because the literary is not included in lower level textbooks, this structure is never taught even though it's a very productive pattern in both informal spoken language and in poetry. So in fact, the text for this first chapter is a poem. And it's an authentic poem written by me. So, okay, I'm sure you can guess that I'm not a native user of French and no, I didn't write this for a Francophone audience. So why do I say authentic? Well, unlike a non-authentic text, which has been expunged of the literary, creating metaphorical meaning gives the writer or speaker poetic license. And I think this distinction is important in two ways. It helps us all to think more deeply about what we mean by the term authentic. This is a term that's used widely. And in one sense, yes, it means, you know, written by a native user or equivalent and for a native user audience. But in fact, authentic can mean other things as well. And I think we all need to think a little bit more deeply about what this term indicates. So the second thing is that it's empowering, right? So by giving ourselves and our students permission to play with language systems, right? So it's not just play for play's sake. I mean, there are very real systematic kind of ways of working with language. It creates more authentic users of the language. So the title of this poem is c'est tout un poème, which means literally, it's a whole poem. But metaphorically, it's used in the way that we do in English to say something like, it's a whole story or it's quite something. Alright, so I'm going to read each verse in French and I'll give you a gloss in English. And I'd like you to think about what the meanings might be of the highlighted pronouns that are used attributively. So je vous présente Aaron. Il est étudiant en science politique. Mais en linguistique, il est plutôt escargot. So some of you probably know or maybe all of you, escargot means snail as a noun. So the idea here is, so let me introduce you to Aaron. He's a student in political science. In linguistics, he's pretty... So what can escargot mean attributively? Well, he's pretty snail-like or sluggish or slow. So dans la salle de classe, il y a un tableau, un morceau de crée, et un exercice avec le verbe être. Mais Aaron est très fenêtre. So in the classroom, there is a chalk, a blackboard, a piece of chalk and an exercise with the verb être. So être is the verb to be in French. But Aaron is very... OK, so the noun fenêtre means window. So here you can't just make a kind of direct associative thought as you can with snail to snail-like or sluggish. So you really go into the scheme of what's happening in order to make sense of this. So you have to envision in your mind's eye a classroom with a student that we know is not very intrigued or quick or plugged into his study of language. You have the blackboard and you have a window. So what might that window's relationship be to the student? Aaron is very busy looking out the window. He's actively looking out the window so you could say that he is very distracted. Aujourd'hui on est lundi, après il y a la semaine et puis, samedi, dimanche, mai, au, le week-end, Aaron est très labo. And on my screen the word labo is not visible, but anyway. Saturday is Monday. And then there's the week and after that there's the week and then Saturday, Sunday. But oh, on the weekends Aaron is very, so labo is short for, it's like lab, short for laboratory. Again, you have to think about the activity that might be associated with being in a laboratory. So we associate that with being very industrious, working hard, experimenting. So any of those attributed adjectives might work. Comment, qu'est-ce qu'il fait? Aaron apprend le français. Sa nouvelle petite amie s'appelle Marie. Elle est de Paris. So how's that? You know what does he do? Well, Aaron is learning French. His new girlfriend's name is Marie and she is from Paris. So it is in fact, tout un poème, right? It's a whole story. But students can piece it together even with this metaphorical usage of language because using very simple language and grammar, but including grammatical metaphors, provides students the opportunity to work more fully with the noun system and to make meaning right from the start that they wouldn't be able to otherwise. And for those of you who don't read French, the instructional language in many of the chapters is primarily English. So you can go through the textbook to see how the texts are treated pedagogically. All right, so I've been talking about how teachers can work intuitively in finding the literary and texts. And in a similar vein, the Flight Project proposes best practices for helping students to develop effective skills for working with the literary. And this fits quite nicely into a multiliteracies framework. So Paisani, Willis Allen, and Dupuis in their book A Multiliteracies Framework for Collegiate Foreign Language Teaching outline four pedagogical acts of what is referred to as meaning design. So how meaning is constructed for helping students to develop effective skills for working with the literary. The strategies that I'm going to be talking about actually fit nicely into a multiliteracies framework. And so here I'm citing Paisani, Willis Allen, and Dupuis' book A Multiliteracies Framework for Collegiate Foreign Language Teaching. And in that, they outline four pedagogical acts of meaning design. So meaning design has to do with how meaning is constructed and communicated. Okay, so the four pedagogical acts begin with situated practice, and that has to do with experiencing using the foreign language to participate in authentic activities. And here again, we might rethink the notion of authentic activities, keeping in mind now the notion of the literary. Overt instruction has to do with explicit learning related to language use and conventions. Critical framing. So that's analyzing functionally and critically. And then finally, transformed practice, which has to do with producing language in new and creative ways. So I was saying that in this webinar I'm actually not going to be touching on how writing is treated in the flight project, but I will now refer to the document in the resources page that's called Interpretation Strategies and Social Reading. So social reading, if you're not familiar with it, is an internet-based activity in which students collaboratively read, annotate, and comment upon a shared text. And there are many applications that can be used to accomplish this, but I actually use e-comma. And e-comma is a web application that was created by Coral, right? So I use it because it's an open resource, meaning it's free to be used and adaptable. And I also use it because it was specifically designed for pedagogical application of social reading. So you can see on the left side of the screen, on the left side of the screen in that column, you see the text that was entered, and this is in the demo for the e-comma link. And then on the right side, you see a word cloud, and that word cloud is generated from the frequency of instantiations of words and punctuation in a text. And then in the middle, you have these various icons, and I'm going to talk about two of them, sort of function buttons. So the asterisk in the center indicates the comment thread, and that's the cumulative list of comments or annotations made by the participants. And in this case, you can see that there were 82 annotations that were made. So when you click on that icon, it brings you to the comment thread. And if you want to then, you can see here the word highlight. So what people do is they actually highlight a word or a passage in the text. That opens up a window. They write their comment. They post it. And if in interacting, because people are collaboratively reading, if they want to see where that word or passage is, they click on highlight, and that brings them to where that is in the text. Then if you look below that, there's sort of a person icon, and that brings you to the list of users and their annotation count. So what that looks like is this, and this is a very neat tool for teachers because it allows you at a quick glance to see who participated and how many annotations. The numbering is rather small here. The text is small, but how many annotations that each person has made. So you can either then read all of the annotations in the comment thread either by using it on screen or you can print out the thread if it's easier for you for analysis and grading, which I'll actually get back to in a moment. So I'm going to show you now four interpretation strategies that can be used actually quite fruitfully with social reading, and my inspiration for this came from the field of anthropology and ethnography in relationship to the phenomenon that's referred to as rich points. Rich points, very simply stated, are instances of two cultural constructs that come up against each other. So this is something that often causes problems for comprehension when reading in a foreign language. A word, and when you think about prototype theories, ties back to this notion of, well, it might be a robin for me, but it might be a parakeet for you. So what are the very associations and schemas that are attached to words and concepts? So the question I wanted to answer is how can we help students to recognize these tension points? I mean, it's one thing as teachers to point them out when it's appropriate, but really, students need to learn on their own to develop a sense of awareness for recognizing these tension points and for better negotiating meaning. So the four strategies that I came up with, which, again, tie in so nicely with the technology of social reading, are these. So the first is what I call red flagging, and I say, read with your gut. Whenever you experience a point of tension, surprise, annoyance, curiosity, disapproval, confusion, flag the word or passage by highlighting it and then write a comment that identifies your reaction and the source of tension that produced it. Once people start posting these kind of red flags, then, as you're reading through, you're questioning both the text and the assumptions that are inherent in these red flags. You know, you want to get at what might be going on here. We don't know. The reader doesn't know. But how might we start to unpack what's happening? So because this is internet-based, you can then find evidence, either by looking at the word cloud or by doing an internet search. So you can work to gain knowledge as you're questioning and then finally posting some kind of formulation of an evidence-based interpretation. So I've used social reading in these strategies at the first-year level with students writing their comments in English and also at the second-year level where they have the option of writing in French or bilingualy. And there are, of course, any number of ways that you can use social reading, but I use it as a first reading of a text because it allows students to react and question a text in this kind of informal, peer-mediated environment I don't intervene, right? And as a result, they tend to notice more and to be willing to take more risks in making meaning out of a text. And in fact, this activity provides a way of combining three of the pedagogical acts that were proposed by the Multiliteracy Framework. So when you think about situated practice, overt instruction, and critical framing, all three of these acts are taking place, but in a learner-centered process that's aimed at helping students to develop a more intuitive and empowering skill set for interpretation. I want this to imply that by students actually using these strategies that suddenly their interpretations are always accurate and well-founded, right? But what's important is that this process allows teachers to see where students are really having problems with comprehension and how they might best address those problems in follow-up work. So the document on this topic and the flight website contains an explanation of the theoretical framing, a breakdown of these interpretation strategies, an example activity for students of French, and an example of a grading rubric that you could use or modify. And that, of course, you know, is a really important aspect now as opposed to a certain number of years ago is finding ways to identify what the criteria are for how we grade our work. So rubrics are important to share and to develop. All right, so I began this webinar with outlining the framing assumptions for the flight project, and I'll end, which is good timing for my voice, by saying that the concept of the literary in the everyday underscores a transdisciplinary approach that when applied from the beginning establishes common ground for connecting language, literary, and cultural studies, but it also contributes to the integration of the teaching and learning of foreign languages in the digital humanities. So I hope now from this grounding you feel ready to take flight. Couldn't help but add that in at the end. Okay, so we would love to see submissions of materials in any foreign language, because actually I don't know that that was made clear. The long-term goal of this project is that we're creating this archive that's going to be multi-lingual. We already have examples in French and in German, but we're extending the possibility for any of you to submit materials that you create in this vein that will be peer-reviewed and also supported in the process of this creation so that we can help you to produce viable and innovative materials in this vein. So as Carl mentioned, the next webinar will focus on creating, I'm not sure actually, did you say the topic of the next webinar? It will be creating flight lessons and activities. And we're also looking to invigorate the Facebook page, which is only open to members, because we're hoping that we can have some sharing of postings that might help us all to go further in thinking about the literary. So stay tuned. And as Carl did mention, please fill out this coral webinar survey and I now, in fact, can answer the questions. First question that's already just come in, Joanna, where do you get your ideas for texts and activities? That is a good question. You know, Carl mentioned in the beginning that I had started by wanting to adopt and adapt Français Intractif. So I did have a kind of thematic progression and grammar syllabus that I was sort of working against or in conjunction with to create spin-off kinds of materials for literacy. So that was one thing, and I have to say that it took me quite a long time to come up. I mean, the first text was one that I wrote, but the others are all things that I found on the Internet, and Chantel Warner also for German has done the same. So it's easier now to find things because this was maybe five years ago when I first started working on this. And at the time, things weren't always labeled. You couldn't find the status of, you know, as readily, but more and more things are being labeled as such. So that will actually be part of the third, that will be the focus of the third webinar. Carl will be telling you about, you know, how you can really understand finding open resources on the Internet. But here's the other thing is that you can also rethink the text that you're using in a textbook that you may like but that you may think, hmm, not happy with the presentation or the kinds of activities that are presented around that text. So go to the original version, if it's been modified, and rethink it. Look at what may be in here that I can approach very differently so that I can bring in the literary in the everyday. So I hope that answers your question. Can I jump in here again? There's another question that was asked about using a copyrighted text. So the one that you gave, you made it up, or using an open, what some people asked about, what if they have a copyrighted text from their textbook and they wanted to develop their activity? What do they do then? Right. So there are two things. You can either work with an open text or a closed text, closed meaning copyrighted, and in the event of a closed text, you wouldn't include the actual text in the lesson. You would include a link or a reference to it so that your lesson would be open around a closed text. So you could still submit materials for copyrighted text just as long as you don't include that text in the actual materials. I do see a question from Dick. Aren't jokes and puns like likely sources of examples of the literary in the everyday? Would it be useful to generate examples to even have students look for jokes? Actually, I do include jokes if you look in my, I forget which chapter they are now, but there are actually two chapters that work with jokes. Yes, jokes are a wonderful source for different kinds of language play, whether it's grammar play or word play, or interaction or perspective, anything. Any genre potentially could include, because in fact it's not about the genre necessarily, it's about language, right, and all language has the potential to be literary, to be used metaphorically. So I see a response, but second language learners do not usually understand jokes. Well, that's true, and that's one of the reasons why it might be a very rich point for investigating, going deeper of what is happening. And sometimes even in, you know, people say, well, you know, it loses the humor and translation. But there can be a real depth of understanding that comes out of unpacking a joke and if that gives learners a little bit of an insider sense of humor in that culture, then I think that it's a very useful and beneficial text to deal with. Tomer, I'm not sure if I'm pronouncing your name correctly, so that they might, you're saying that with jokes, they feel that they're silly. Some of that's going to depend on the joke that you choose. There are some jokes that really get at cultural constructs, right, that may exemplify something that actually students find important or intriguing to understand. And if you can, in fact, in one chapter where I use this, it's actually for understanding, because I tie it in with business culture in France. So, you know, if you can tie it into understanding certain practices in a particular subculture that may be of interest to students, that that then takes on, you know, another level of importance. Joanna, can you hear me? Yes. This is Carl again from Coral, and since we're coming up in the hour and just about to finish, can you tell people just a little bit about the idea behind-flight that this is, as I mentioned at the outset, this is a community of practice that we're trying to build, and that the website itself is going to be an archive so that people can contribute to that. Could you just mention that to them? Tell them a little bit about that. Okay. I mean, I'm not, I did, I don't know if you heard, I did address that, but I can say it again. This project which really started with my textbook, right? The textbook became a springboard then for this joint funding through the Coral and Arizona, University of Arizona Circle. So the idea is to expand it not only then from French but to any language, and so we're creating, on the flight website, we're having a space for, in a sense, a repository or archive so that people can submit materials in the vein of the foreign languages and literary in the everyday. But they're peer-reviewed. So it's not just, oh gee, okay, I'll put something together and upload it. No, they are peer-reviewed. And in that process, we can help you to really produce materials that are, you know, viable and innovative in this vein. And they would be published as open resources. So you go through the licensing. And this is something that we're excited about in terms of thinking that language program directors in universities can include this in their methods courses and actually then have graduate students go out onto the job market, have their CVs, you know, the fact that they have successfully published materials that show that they are thinking deeply about language and literature and that they were accepted for publication on the website. And I'd like to follow up then. Yeah, thank you very much. That leads right into an announcement that I wanted to make as Natalie's just posting, Coral is starting a new collaborator program. Coral collaborators. And as Joanna just said, we want language program directors to be working with their graduate students and we will award them some kind of a stipend for their participation. So the creation of a flight activity. I believe we're talking around $500. And we would then, in addition, bring them to the workshop here in July. So if you have graduate students who are interested in that, we'll give you details, but you can find out those details about the Coral Collaborator Project. And again, it's to seed participation in our various projects, but in particular the flight project is what we want to focus on this summer. It's for graduate students to bring them here to UT Austin and to help them develop their own materials. So we are up, the hour is up. I want to thank everybody, and especially Joanna for her presentation. And the, as I said at the beginning, I want to end with this, please take the survey. It should only take just a couple of minutes of your time and it's important for our record keeping. And okay, thank you. Thanks everybody. Thanks everyone. Bye. Bye-bye. Bye.