 Welcome, everyone. My name is Carl Blythe. I'm the Director of Coral, the Center for Open Educational Resources and Language Learning at the University of Texas at Austin. And I want to welcome you today to our Coral webinar. It's the second in a series. Today's speaker, Chantel Warner, is going to be talking to us about generating lessons using the flight approach. As I mentioned, this is the second one in our series. The first webinar was given in February by Joanna Lukes. And it was really a kind of an overview of the flight approach and how we understand flight, which stands for the foreign languages and the literary in the everyday. Central to the approach is language play, and I believe that Chantel will kind of freshen our memories about that. But that's really all about all I want to do. I just want to introduce Chantel Warner, who is an associate professor of German, co-director of the Center for Educational Resources in Culture, Language and Literacy. The acronym is pronounced CIRCLE. She comes to us from the University of Arizona, Tucson, and where she is also the coordinator of the German language program. So, Chantel, I'm turning it over to you. Let's have some fun. Great. Thank you, Carl. I want to echo Carl's welcome to this second webinar. Could a couple of you just give me a quick hello so I can make sure I'm being heard? Oh, I see typing. That's, I think, probably a good sign. All right. Good. Hi, everyone. Good. Welcome. What I'll be doing today is introducing you to some key concepts or tools to think with in the development of lessons which aim to promote creative and critical language awareness through the literary in the everyday at various levels of language learning. And I can see from the polls below that we have quite a number of different languages represented here and that we also have quite a number of levels of language instruction represented. So that's great. What I'll be talking about first is some of these core concepts of the approach and then in the second part of the webinar I will walk you through some of the kind of key steps that can help you in creating sequence lessons using principles of this approach. So first we'll be talking about kind of key pedagogical concepts for flight and then these steps for creating flight lessons which are first choosing a text which exhibits features or effects of the literary in the everyday and which at the same time of course exhibits features that are key to your learning objectives and to the needs of your learners. Secondly, we'll be talking about what I call reading for teaching. And this is the practice of reading the text carefully with attention to different levels of meaning and with a mind towards how this text and your work with it might address or even expand your teaching objectives. And then finally we'll be talking about the design of the lesson itself through scaffolded pedagogical acts and at the very end we'll still have some time left for discussion and questions. As Carl mentioned, this is the second in the webinar series and if you've not yet viewed the first webinar by Joanna Lux, I do encourage you to go back and watch it after this webinar at some point to get a more solid introduction to some of the core ideas to the literary in the everyday approach. But for those of you who haven't and I see that some of you have and some of you haven't, what we're going to do first is a little refresher and I'm going to talk first about the flight approach, beginning first with what we mean by the literary in the everyday. Within the context of the foreign languages in the literary in the everyday project, the literary refers to the range of playful, creative and nonconventional ways of making meaning that language enables. This range includes all of the different resources we use in order to make meaning, from sound play, rhythm, rhyme, alliteration, to multimodal aspects, images for example, or even fonts and formatting of text. Word play such as puns, play with grammar, for example, creative subversions of standard forms or nonconventional uses, and it extends to types of play that manifest on a more textual level, rather than a word level. For example, play with genre norms. It also manifests in more interactional types of play, either between characters that are represented or between the reader, listener or viewer of the text, and this is what we call pragmatic play. And it also can be exhibited in plays with perspective. So for example, different shifts and subversions in who is telling a given story. And then also in literary play that really relies more heavily on the background knowledge of the reader as we see in symbolic play and culture play. And there's a link at the bottom there which takes you to the flight website. And so after the webinar when you can go back to these slides, if you want to get kind of a more thorough discussion of these different types of play and also some key examples, that's where you can follow up on that. All of these types of play are important for the development of foreign language literacy. In order to explain what I understand by foreign language literacy, I'm borrowing here from Richard Kern's work, who's defined literacy as the use of socially, historically, and culturally situated practices of creating and interpreting meaning through texts. Kern goes on to state that literacy entails at least a tacit awareness of the relationship between textual conventions and their context of use. And ideally it also includes the ability to reflect critically and I think we would add here in the context of the flight approach creatively on those relationships. It's literacy draws on a wide range of cognitive abilities on knowledge of written and spoken language on knowledge of genres and on cultural knowledge. Literacy in this broad sense has become an important learning objective in foreign language education, especially with the rise of digital communications technologies and trends of global migration. Both of which have brought into the awareness of many teachers, education researchers, policymakers, and often even our students, the multiplicity of communication channels and media through which we communicate. An increasing amount of language use these days transpires online, for example what we're doing right now, through social media, email, texting, chat. And this means that people are communicating with one another maybe geographically very widely dispersed. This in turn has contributed to the increasing saliency of cultural and linguistic diversity, which is noted by the new London group in the quote that you see there on the slide. And this diversity manifests both within our classes, among our students who we're working with, but also in the target language contexts, which we are preparing them to enter. And this is what makes it vitally important for our teaching. This has a couple of important implications that I want to highlight. Firstly, the rise of digital communications media means that language learners have an ever greater need to develop the ability to use to create and make sense of a wide variety of texts, often before they ever get a chance to set foot in a country. So students are encountering these wide varieties of texts and text types and ways of speaking even before they ever get to travel abroad in a lot of instances. Secondly, the wide variety of ways of using the language and of cultural perspectives which learners are likely to encounter early on in their process of learning means that we as educators need to teach language as more than just vocabulary and grammatical structures, but also as a means to explore ways of thinking and experiencing as they expand their understanding of the very diverse world we all live in. Key questions for us as language educators are then, how can we best foster the tacit awareness of linguistic conventions and their relations to one another described before in the quote from Kern? How can we promote critical and creative thinking in our learners? How can we develop their knowledge of written and spoken language, including knowledge of vocabulary and grammatical structures, but also these knowledges of genres of how people make meaning through different kinds of texts and contexts and their cultural knowledge? In the flight approach, we attempt to address these pedagogical imperatives by promoting literacy through the literary. Through the kinds of literary play I laid out before in which we discuss in the approach, we teach language as richness and variety as something that language users creatively design, not as merely information that we convey with a sort of monotone singularity of vision and intent to paraphrase John McRae. In other words, the multiple meanings, ambivalences, intertextualities and complexities of meaning creation, which many might readily associate with literary texts, are not peculiarities of literature alone, but they're inherent, we believe, to all language, from casual conversation to presidential speeches, from text messages to poems, from novels to video games. And here I'm paraphrasing some recent work by my colleagues, Michaela Dobstadt and Rana Taridna, who are in German as a foreign language. But I also wanted to point attention to Diane Richardson, who's the one who gave me this quote and her work, which talks about pedagogies and curricular instruction, which embrace these ambiguities and complexities. They're inherent in all language. We might even go so far as to argue, as Judith Zerkovitz, a researcher in English as a foreign language, teaching encourages us to do. That language teaching that overemphasizes the communicative function against the expressive and the integrative functions. So in other words, those functions of language that enable us to express and interpret emotions, attitudes, experiences, concepts and beliefs, haves the way for some sort of advanced pigeon, a language to do business in. But doing business is just the tip of the iceberg that is language use and also therefore language learning. What we in the flight approach propose is that we give language learners the resources they need in order to design meaning in a variety of different ways to express themselves to understand the world in multiple and diverse places in social spaces. By recognizing and playing with the literary in the everyday, learners become aware of their repertoire of resources for making meaning. They learn to express themselves and communicate with others in ways that go beyond just getting their point across. They're creatively and critically designing what they mean to say. And this is transformative. It redesigns them. It transforms the language in which, in that it gives those words a new life by using them in a situation which is not identical to all those other moments in which that word or that phrase or that genre would have been used. But it's also transformative in that learners themselves are redesigned. As language learners acquire new things to say and new ways of saying things, they too are changed in important ways. And this process of taking up available designs, making meaning with them and redesigning the language in oneself is, at least in my opinion, one of the most wonderful and exciting things about learning a new language in the first place. So I'd like to move now from these more kind of foundational principles of the flight approach and to start to talk about those three steps for creating flight lessons, which I mentioned at the very beginning of the webinar. You'll see here kind of shadowed in gray, a fourth important step in the process, and this is integrating assessment into your lessons. This topic will be the focus of its own webinar, the third in the series, which will appear next fall. So I won't be talking about that today, but it's definitely very much in our minds. Turning first to the choice of text. When we're designing lessons, we must first consider why we are teaching the text in the first place. In some cases, the initial choice of the text is ours. In other instances, we've borrowed it. Perhaps you've found a text in the Flight Archive for which you want to develop your own lesson, and that's your starting point. And sometimes, of course, the choice of text is already dictated to us by many, but also elsewhere in the world, which made me start to kind of want to read it as a statement about human nature and how we cope with these kinds of atrocities to which blame and responsibilities might be assigned. And a couple of you also going into similar sorts of ideas about truth and about humanity under the ideational function. So it's interesting how varied, but also how similar a lot of our responses are in that way. Along the way, as I read to teach this particular poem, I notice a couple of interesting aspects of play. More often than not, there's some combination of forms, themes, and genres that guides us. And sometimes, honestly, we just like the text, and we think our students might like it too. And so what we're actually trying to do is decide where it might fit and how we can work with it in some way that would be meaningful. Thinking through the choice of text helps to prime our minds for the kinds of literariness that are present and also those which might be most relevant to us pedagogically. And at the same time, thinking about our larger learning goals will enable us to identify texts which might be most interesting and worthwhile to work with. Let's look now at an example which we're going to work with for most of the rest of the webinar. It's a relatively simple text with the title Unbestimmte Zahlwörter or indefinite pronouns. And I'm going to read it once through in German and then I'm going to share the translation. I can see that a few of you teach German, but I know many of you don't, so don't worry, the translation is coming soon. Unbestimmte Zahlwörter. Now in English, indefinite pronouns. Everyone new, many new, most new, some new, a couple new, a few new, no one new. You might start to notice some things right away about this text. For example, the title already puts a certain grammatical form into the foreground, so you might notice this first. Let's even assume for the sake of our example that this is what attracted you to the text because you are currently teaching indefinite pronouns in, let's say, a late beginning or early intermediate language class. You might have also noticed pretty quickly the formatting and deduced from that that this is probably a poem. As you read on, you might also start to pay attention to other aspects of the language, what it expresses and how it makes you feel or what kind of mood it creates for you. This process of noticing is the beginning of the second stage, reading for teaching. Reading for teaching is importantly different from other kinds of reading, such as reading for pleasure or even the kind of interpretive work that literary scholars do, because your responses to the text need to be channeled into something that you can teach. One model of I Have Found Helpful for structuring this kind of reading for teaching is based in MAK Halliday's Division of Three Metafunctions of Language. And what these meta-functions are are basically three levels of understanding, and they represent three ways in which language does the kind of work that it does. Firstly, pieces of language, so items of vocabulary, structures that we teach, must be organized somehow into coherent stretches, such as text or dialogues. And this is called the textual dimension of language, the ways in which language does this, creates this coherence. Secondly, language mediates relationships between people. Sometimes we feel more or less addressed by a certain text, or like it puts us in a certain kind of mood or state of mind. These are aspects of the interpersonal function. Thirdly, language expresses ideas and perspectives about the world and focuses our attention on particular aspects of the things and creatures that populate this world, or particular elements of a scene or an event. This is part of the ideational meta-function of language. Literary effects often arise when these dimensions or meta-functions of language are played with in striking or sometimes even discomforting ways. So I want to turn our attention back to this poem that we were looking at a second ago, indefinite pronouns. And keeping these three meta-functions, these three levels of understanding in mind, I want to hear a little bit from you. What do you notice about the text along these three dimensions? Hopefully you can see the poem there presented again on the side, a little bit of a smaller form of it. And I'm going to bring in a couple of polls to the bottom of the screen. The first one related to the textual function. So this question of what strikes you most about the language in the text, how it hangs together, how it's formatted. The second poll that's popping in there, hopefully, for you, has to do with the interpersonal function. So these questions of how this text makes you feel, do you feel addressed? And then finally, the ideational function. So what themes or experiences or ideas, what perspectives or beliefs does the text seem to express? And I'm going to give you about two or three minutes to chime in with your thoughts. So we'll pause here for a moment and then take up from there. Okay, it looks like the polls have gone a bit quiet. So I think I'm going to pick up from here. And you can see them as well there. And so you might notice that there are also some similarities, especially the textual responses to the textual function. But there are also quite a lot of differences, especially some of the thoughts that are represented under the ideational. I'm going to talk you through a little bit kind of my reading for teaching and my responses to the text and try to bring in some of also what you said into that. And one of the things that I've already mentioned is that this is formatted as a poem. And what gives this poem perhaps coherence is this repetition. The repetition of the verb, new, new, new, new, always preceded by an indefinite pronoun. And a couple of you even mentioned that it looks a lot like a grammar paradigm because of that, even though it also has this poem format. But it isn't clear at first, other than perhaps this reference to the genre of grammatical paradigm, how these lines hang together. They do sort of seem to be organized, I think, along a climb. They range from everyone to no one, from a more inclusive to a more exclusive, with nobody knowing at all. But we don't know who. There are these questions, these uncertainties, that these questions that are raised, which blend really quickly into the interpersonal dimension. I'm myself asking, who? Who knew? What did they know? And is this a change of some sort over the course of the poem? Is it a change in multiple different positions, multiple perspectives? Or is it a shift in opinions over time? Some of you even indicated that you found this very suspicious or that it gave it sort of a feel of curiosity. You wanted to know more. So maybe you were asking some of these similar sorts of questions. And I think for a few of you, it gave it sort of an ominous or a tragic or a pessimistic sort of feel in some way. For me, at the same time this mood of uncertainty was offset by something that I suspected that I might know or that I could read into the poem based on my knowledge of German history. And that's that one of the moments in German history were these kinds of questions about how knew, who knew what. One of the moments in which these became most urgent was in the intermediate aftermath of World War II. I think at least one person under ideational said, maybe this is a reference to the Holocaust. So thoughts going in a similar place. And so then I started to wonder what might this poem say about that particular moment in history. But at the same time I had to acknowledge that it's kind of ambiguous. It doesn't directly mention, it doesn't directly point to this moment in history. There's a kind of uncertainty there. And this makes it easily applicable to a number of different historical and even more current atrocities and events in Germany but also elsewhere in the world, which made me start to kind of want to read it as a statement about human nature and how we cope with these kinds of atrocities to which blame and responsibilities might be assigned. And I saw a couple of you also going into similar sorts of ideas about truth and about humanity under the ideational function. So it's interesting how varied but also how similar a lot of our responses are in that way. Along the way, as I read to teach this particular poem, I noticed a couple of interesting aspects of play. Well, I noticed that there's some grammar play and genre play that seem to kind of coincide here and make what at first might seem like an innocuous sort of grammar paradigm, the kind of thing you would find in a typical language textbook showcases these indefinite pronouns into a poem, into a very different kind of genre, a text that is interpretable and potentially coherent. So one could very well imagine something that looks not all that different, the same list of indefinite pronouns here, the German indefinite pronouns appearing in a language textbook just numbered as something that the students are expected to rote memorize. At the same time, there seems to be some kind of culture play I think going on and that the statements made by coupling this list of indefinite pronouns with this choice of the past tense verb new echoes sentiments that have been expressed in the commentary around a number of different kinds of events, perhaps specifically around events in German history in the aftermath of the Second World War. So at this point, as I've gone through this process of reading for teaching, it's good and important to go back and check in with the reasons for the choice of texts that we talked about back in step one. Now, if I were teaching a course that focused on German history and this poem was included as part of a discussion of post-war literature, post-war responses to the Holocaust, my way into these dimensions, the kinds of things that I've started to notice about the text might be quite different from if I'm teaching this text as part of a unit on indefinite pronouns. Now, we were assuming the latter curricular context for the moment that our choice in this text is guided by a lesson on indefinite pronouns. And with this in our heads, I want to start to move us into the third step, the selection of pedagogical acts and the creation of a pedagogical sequencing. What I mean by pedagogical acts are the range of teaching choices we make as educators as we try to help our students to achieve certain learner goals. And just to echo what we said in the beginning of the webinar and what you'll find throughout the different resources that are on the flight website, I'm assuming that these goals and objectives are within the scope of this approach, this foreign language is in the literary and the everyday approach. And so this means what we're looking to facilitate are practices of reading, writing, speaking, listening and viewing for meaning. And so meaning is very central to our approach. And we're interested in vocabulary, grammar and genre and all these other different kinds of resources for meaning-making. But at the same time, I'm assuming that we want to develop students' understanding of text as socially, culturally and historically shaped practices in the way we talked about before. And finally, we want to foster learner's awareness of how meaning is designed and redesigned through language and other kinds of expressive systems, such as images and sounds. And to make them attentive to the fact that there's never just one way of saying something. We're talking about the choice of a given word, some versus many, new versus suspected. Or if we're talking about the choice of the channels through which we communicate, if I'm giving a webinar through Adobe Connect, for example, if we were all sitting in a classroom face-to-face, it would be a very different kind of experience and that this has implications for meaning. Or if we're talking about the choice of genre, a poem, for example, versus a grammar paradigm, the kinds of texts that meaning in different kinds of ways. The vocabulary that I'm going to use in describing these pedagogical acts is borrowed from the multiliteracies approaches, which I kind of referenced and pointed to earlier in the talk. And this is because I feel like these are most in line with the approach to language teaching that we've been talking about with the flight approach. In the diagram that's displayed now, you can see two sets of terms that are most often used in this approach. And the outer circle are the original terms from the new London group, which are also my colleagues Kate Paizani, Heather Willis Allen, and Beatrice Dupuis, and which they use in their recent book, A Multiliteracies Framework for Collegiate Foreign Language Teaching, which is a wonderful introduction to this approach and to the pedagogies that are related to it. In the inner circle are a second set of terms, and these were introduced later by Bill Cope and Mary Calances, who were two members of that same new London group. And these are the terms I prefer simply because I find them a little bit easier to apply because they're these active verbs. And these are the terms which I'm going to use in this webinar. Before I go into the next slide, where I'm going to describe what I mean by each of these terms and how I'm going to use them, I want to point out another aspect of this diagram that's really important to the approach. And that's the circularity. Although these acts represent moments and moments, there's no predetermined rigid sequence which they might, which they must take. And the decision of which acts come when in a sequence is determined by the desired learning outcomes, what the students need based on their prior knowledge and abilities, and what ultimately the instructor wants to focus on with the lesson. While these acts are interconnected within a lesson, ideally, conceptualizing them as separable pedagogical acts helps us to recognize the kinds of activities that can happen in our classrooms, that can facilitate learning, and how we can best support and encourage these kinds of acts as we create lessons. As you probably noticed already here, each of these pedagogical acts has kind of two sides or two dimensions. So I'm going to start in the upper left corner with experiencing. Experiencing that which is known and familiar can be a helpful way of activating existing schema and aiding comprehension, and this is something that probably many of us do already in our classrooms. But it's important to also remember this other side of experiencing, and that is that students must also be given opportunities to experience things that are new, new ways of speaking, new perspectives, and so on and so forth. So let's go down. Conceptualizing is an activity in which I think also many of us engage, for example when we set out to teach particular structures, we might begin by introducing grammatical terms and then ask learners to pay attention to where those terms show up in a given text or in a given recording. We might ask them to categorize them, to compare them and contrast them with other kinds of forms. But learners can also be asked to work more inductively, conceptualizing and maybe notice more explicit through developing a theoretical vocabulary themselves. Moving over to the right and analyzing, we look at functional ways in which language is used so it's causes and effects, but we can also look critically at the particular kinds of interests and intentions that it represents. And I think some of you were already starting to do that very much with the poem we had a second ago. And then finally moving up into the corner at the top on the right, at various moments we want learners of course to apply the different sides that they've gained and sometimes we most importantly want them to apply this knowledge appropriately in predictable and typical ways. But it's also important to have moments where they apply this knowledge creatively, generating new meanings and negotiating the situations in unexpected ways and this is something that we work with a lot in the literary in the everyday. Now I'll start to present is just one possible lesson for the text we've been working with and again imagining a particular context in which the pronouns are the primary focus of our lesson but where I want to use these principles of the literary in the everyday to show how pronouns can mean in important and even potentially political kinds of ways. So let's imagine that my students have maybe already been introduced to a list of indefinite pronouns perhaps in the form of grammar paradigm for the textbook, perhaps in the form of something that looks a lot like this and this is kind of an English language version of what I showed before. In the grammar paradigm that you might find in a textbook, let's call it lesson 10 indefinite pronouns and has a list of examples. The first pedagogical act in my lesson could be to ask learners to experience the familiar by sharing this transformed version, so a text that I've already changed into another kind of text with them and asking them what they see asking them what kind of language it is where might they expect to find it and many of them will probably pretty readily recognize it as a kind of grammar paradigm. I might move there from conceptualizing to naming, although some of the this work has already been done by the title which clearly marks it as a list of indefinite pronouns but we might want to contrast this list with a list of definite pronouns for example he, she, it and we might sneak in a bit of analyzing functionally and consider situations in which they would use these indefinite pronouns and then situations in which they would use definite pronouns and why and to what kinds of effects. So for example if I say somebody left the door open and I know full well it was my daughter who always forgets to close the door I might be nevertheless using this indefinite someone to soften the accusation interpersonally and give her a chance to take responsibility for it and we can compare this with a situation in which I might say someone is knocking at the door because I truly have no idea who could be interrupting my webinar. This final question that we see here on the slide how are the pronouns organized in this text starts to move us towards conceptualizing because it asks the learners to speculate about relationships between the words to compare and contrast words in a sequence and to perhaps begin to talk about that kind of gradation from the all to no one that we had mentioned before and to consider these more inclusive plural categories of the negative pronoun no one. With all of this richness of meaning that we found in the poem which is never the or sorry which we found in this this transform text that is ostensibly a kind of grammar list the kind that students see all the time and tend to just memorize at this point I can introduce the poem which we know is the original version of the text but which for the students in this moment is an experience of the new and that it's a poetic version of that familiar grammar paradigm and we can use similar sorts of questions to those we asked about the grammar paradigm in order to draw students attention to what is different here and what remains the same from the first text they experienced that grammar table we might ask again what kind of text is this where might you expect to find it and what are the differences between the two versions and this might lead them to recognize and think about some of those kinds of play that we had talked about earlier thus far the lesson has mostly been concerned with the textual meta function but remember my focus in this lesson was on the grammatical structures and my primary objective was to help my learners to understand these forms make meaning in important ways so this emphasis on the textual is maybe no surprise nevertheless with this fifth step we might start moving into expanding that scope bringing in the ideational dimension first by asking the learners to analyze the language functionally what kind of information or message does the first text the grammar paradigm convey what kind of information does the grammar paradigm convey and then what about what kind of information or message does the second text grammar paradigm in the form of a poem convey and we can incorporate the interpersonal dimension by asking whom these two texts address to whom is a grammar paradigm addressed to whom is a poem addressed the second of these questions maybe the harder to answer as of yet among the questions that the text is likely to pose for most readers are the seemingly straightforward matters of who and what that's I know what many of you were asking also under the interpersonal function and in that these are left intentionally unresolved analyzing critically is an important stage in understanding the text we might ask what are the silences and gaps reveal and conceal what's being hidden many of you describe the poem as being kind of suspicious who might be the referent of these pronouns when we say someone or we say all who's included in this all that we're talking about what might they know or what might they not know and again what is this gradation mean are these uncertainties are these different perspectives are they different moments over the course of history and do these uncertainties things that they don't know and that the poem doesn't tell them leave learners feeling more addressed or less addressed by the poem this might be a moment where a brief authorial biography or short historical discussion of the post war period could be helpful to many students and again it depends on the learning outcomes others with more knowledge of German history might come to these topics of guilt and blame without this additional support in this particular lesson we might conclude with a transformation activity an example of applying sort of applying appropriate contextualize what they've learned and here just a couple of examples of directions that could take for example students be a poem but perhaps with a different kind of grammatical feature they could ask be asked to illustrate the poem and maybe pull out some of these interpersonal reactions the suspiciousness etc by responding to it visually and then to go back to the text and see what where these effects originate they could be asked to rewrite or reorder the poem for a different kind of specific event perhaps a specific event in the histories of the country in which they're being taught or something else that they're learning about in German history and the history of the target culture and I should note that any of these activities can then become a starting point for a new lesson which places application at the start of the sequence so from this lesson to the next lesson we can also continue the scaffolding of these pedagogical acts with this I'm going to conclude the final step in these three stages so we've talked about the choice of text we've talked about reading for teaching and finally we've talked about the selection of carefully sequenced pedagogical acts and I want to take a moment to remember our overarching learning goals we wanted learners to become aware of how different forms of learning but also to help them to understand languages socially, culturally and historically shaped our lesson focused on indefinite pronouns and one might have asked what could a grammatical structure something as simple as indefinite pronouns have to do with German culture and this is also a question that arises when we talk about teaching language and culture but I think what we've discovered through a lesson like this and through this poem this poetic information of a familiar grammar paradigm is that indefinite pronouns even the simple kind of grammatical feature clearly has a lot to do with culture these indefinite pronouns create distinction between groups the some who knew and the some who didn't know they divide up the world in relation to a given process in this case the epistemic act of knowing and by paying attention to the literary and the everyday and the way we've been talking about this encourages us to become aware and allows it to become apparent that even these tiny little choices in meaning these simple little bits of grammar matter a lot I selected a single text for this webinar because I wanted something that I could work with so that we can kind of explore it from these different angles and through these different steps but I want to emphasize here as we start to conclude that the literary and the everyday manifests in a variety of different modalities and test types and this ranges from truly everyday texts such as newspaper headlines to advertisements take for example there the parody literary review of an Ikea catalog by Helmut Karasek and the link is there and if you haven't watched it I encourage you to it's very funny and we even find the literary and the everyday in our linguistic landscape and the mini signs around us in short we are immersed in the literary and the everyday and this is what makes it a particularly rich concept for foreign language pedagogy with all of this in mind I want to invite all of you who have been with us today or who are watching it later on to contribute to the flight project and to become part of this conversation and if you go to www.flight fllite.org you'll also find at the beginning of the webinar and you click on how to you'll find a list of different resources and information about finding texts about creating lessons around texts about tagging texts and also about submitting them and you'll find there also a submission form where you can submit both text and lessons related to flight talk with many of you and maybe to see you contributing in some capacity and at this point I will open things up seeing one question coming in about how applicable this is to longer texts thank you for that question so part of the reason that I worked with a poem today is practicality I think this is completely applicable to longer texts as well even working with a novel or a film you can use principles of the literature I think often there the strategy is to take shorter excerpts and work with them in a really close and careful way because one thing you might have noticed is we were spending a lot of language but I think this is something for students to do especially as they start reaching those intermediate advanced levels where they're working with longer texts it came about the reading for teaching and this concept I don't know if there is any literature on it I mean I think we often view these things as moments of individual cognition and so we don't it is my idea I don't think we talk enough sometimes about the teachers and their interactions with the text and what that might mean for teaching and so in some ways this is an invitation to I think it I would add maybe is really compatible with some of the social reading that has also been talked about with the flight project and so for those of you who are interested in that there are some materials on the flight resources page about social reading and I think this is an extension of that it's just including the teacher and their initial responses as part of that social process of reading for any of you who would like to follow up on that as you thought and developed curriculum have you started with the text or started with the function theme or structure that's a really good question and I think the answer for me has been that it's varied quite often the text becomes a starting point for me because it's something that I've discovered along the way and I think I could use this for teaching and then the question is well where can I use it for teaching and you think your way into that process but one of the things that we've talked about in the previous workshops that we've done and you'll find some resources on this in the flight resource page and also in Joanna's first webinar is when you do start with a function or a theme or structure how do you go and start to find those kinds of texts and what kinds of play might you look for and I suppose I'm talking more within a lesson and I think your question is also about a curriculum so they're thinking also about how these different choices of texts relate to one another so sticking with the poem example for a minute if this were a text and a unit on post war German literature it would probably be a number of different kinds of texts that dealt with these questions of blame and a guilt and responsibility in very different ways often just because of the different sorts of genres that they are an essay is going to look quite different in that way than a novel or a short story and a poem so starting to think about these different instances of the literary but within a lesson where there's a kind of grammatical focus in a unit playing off of different kinds of play might be one way into structuring it across a module or a curriculum right and Carl's pointing there to this question also getting at the importance of metadata and this is something that we've talked a lot about in some of our workshops but you can find more about it on that flight resources page under those how to materials that we have there and in addition to the texts and the lessons that we are bringing into the archive we've also been compiling different kinds of collections of texts and so those are basically texts that would work well together and pedagogical context so kind of the of a curricular wins right and Joanna is pointing to the one of the places that you can often start is with the textbook itself and I think that's one thing that this poem hopefully highlights really well is that something like this the starting point might be again a grammar paradigm something that's really key a very central sort of text type in your standard sort of textbook but by bringing in this literary in the everyday perspective that students can notice all the nuance and all the playfulness that can come into something that goes quite a lot beyond a sort of standard grammatical paradigm their question coming in about how do you scaffold when you guide students to analyze the text critically critically besides asking guiding sorts of questions for me one of the best starting places is often their reader response themselves starting with these interpersonal and ideational functions in particular so looking at what do they notice about how they respond to the text what do they notice about what seems to be represented from the text and then building from there into something like a short introduction to a historical context even in your responses and you're quite a quite a diverse group some of you read in German some of you don't some of you probably have greater familiarity of German history than others but you all or at least many of you kind of were picking up on something a bit uncomfortable about this uncertainty this what some of you described as suspicious or ominous so that's a kind of not for working into what might be a critical statement from this text that can be easily augmented then by authorial biographies or information about the history that even a variation of the kinds of polls and many of you probably know some of the software that are pretty freely and widely available that teachers can use in the classroom where you could even start with exactly the kinds of responses in the way that we did by giving students some of these guiding questions about what do they find striking what kinds of mood does it create questions that students can often ask and just comparing those various different kinds of impressions they have and seeing where there are commonalities and where there are sometimes big differences might be one way also into scaffolding those kind of responses and that process of analyzing critically and analyzing functionally one comment about the relationship between scaffolding and the new London group and that's something I'm trying to relate to both vocabulary that people might not be familiar with and vocabulary that people are more familiar with putting our mind about the core collaborators project which we should have a link for that in the file share somewhere or Natalie might be adding one right now and this is in particular for graduate students and others who might be developing materials for their classroom and who might want to bring something that they've just started to think about to the workshop in Austin in July and then get some help get some hands on help developing that so Natalie's posted information about how to apply for that there in the chat Can I just jump in here this is Carl from Coral again I want to we're coming up on the hour and I really want to thank Chantel for doing a great job of presenting her ideas for designing a lesson and I wanted to end with what she mentioned the Coral collaborators really it's a great opportunity for graduate students who want to participate and the idea is we're going to select people who are going to participate in creating lessons we will bring them to Austin to participate and we will fly them down here so it's it should be very interesting for people who are interested in participating but also we'll give them a $500 stipend so if you have graduate students who have a good idea for a flight lesson please tell them about the we're calling this the Coral collaborators and they can find more information as well as of course a submission form it's really very simple to submit but we do have a deadline it's May 31st so of course it's coming up so send your graduate students to the website and find out about the Corals collaborator project I want to thank Chantel and of course Joanna and all the team here at Coral for facilitating this webinar and of course everybody who participated the questions coming in we had about 20 I think 27 different participants so the next part of this our webinar series or event series will be then this summer where we have the flight approach workshop design assessment and publication we'll show people how to do all of this all together as well as how to get it published and that is July 15th and 16th so thanks everybody and hopefully we'll see you in Austin