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    Class - I - Activity Imprimir

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    daniel
    The teacher introduces two language classes, Class I and Class II, that differ in their approach and the theories of language underlying them. Class I focuses on having students make inferences about a short film and answering comprehension questions, taking a more linguistic view of language that sees it as an object of study. Class II has students analyze aspects of the film like shots and music, linking it to theories that view language learning as a cognitive and cultural process involving the subjective experiences and interpretations of learners. The teacher explains how Claire Kramsch's theory fits into the approach of Class II in seeing foreign language as a cultural artifact that learners interpret and make meaning from in individual ways.

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    Class - I - Activity Imprimir

    Uploaded by

    daniel
    8 views7 pages
    The teacher introduces two language classes, Class I and Class II, that differ in their approach and the theories of language underlying them. Class I focuses on having students make inferences about a short film and answering comprehension questions, taking a more linguistic view of language that sees it as an object of study. Class II has students analyze aspects of the film like shots and music, linking it to theories that view language learning as a cognitive and cultural process involving the subjective experiences and interpretations of learners. The teacher explains how Claire Kramsch's theory fits into the approach of Class II in seeing foreign language as a cultural artifact that learners interpret and make meaning from in individual ways.

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    Class_I__Activity imprimir

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    The teacher introduces two language classes, Class I and Class II, that differ in their approach and the theories of language underlying them. Class I focuses on having students make inferences about a short film and answering comprehension questions, taking a more linguistic view of language that sees it as an object of study. Class II has students analyze aspects of the film like shots and music, linking it to theories that view language learning as a cognitive and cultural process involving the subjective experiences and interpretations of learners. The teacher explains how Claire Kramsch's theory fits into the approach of Class II in seeing foreign language as a cultural artifact that learners interpret and make meaning from in individual ways.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    8 views7 pages

    Class - I - Activity Imprimir

    Uploaded by

    daniel
    The teacher introduces two language classes, Class I and Class II, that differ in their approach and the theories of language underlying them. Class I focuses on having students make inferences about a short film and answering comprehension questions, taking a more linguistic view of language that sees it as an object of study. Class II has students analyze aspects of the film like shots and music, linking it to theories that view language learning as a cognitive and cultural process involving the subjective experiences and interpretations of learners. The teacher explains how Claire Kramsch's theory fits into the approach of Class II in seeing foreign language as a cultural artifact that learners interpret and make meaning from in individual ways.

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    “I y SE III”

    Class I on campus
    What underpins a teacher’s mediation?

    Watch this short movie:

    https://www.youtube.com/watch?v=k1vCrsZ80M4&t=16s (The Neighbours' Window - Oscar


    Winning Short Film)

    Context: A state -run school at a 4th or 5th year.

    Read the two language classes: I and II and tell the differences between them in terms of the
    teachers’ intentions. This means: “ What idea of language is she/ he teaching through these
    strategies?

    Class I

    Introduction:

    The teacher (T) asks the students (Ss):

    T: Do you tend to spy on your neighbours? ; ¿ Suelen espiar a las vecinas o los
    vecinos?
    Ss: Yo espio a los vecines, Profe.
    T: Ah! OK! Really?
    S1: Mis vecinos escuchan cumbia y son una paja…
    S2: Si… yo veo cuando mi vecino viene tarde a la noche….
    [….]

    Pre-watching
    The teacher (T) asks the students (Ss) to have a look at this shot:

    The T asks Ss what they think the movie will be about. The Ss’ answers can be:

    “ Se espían y ven un crimen”


    “ Dos desconocidos se ven y se enamoran.”
    “ Ven algo raro…”
    “ Ni idea…..”

    While- watching
    a- The T plays the movie and gets the Ss to check their inferences:
    T: Is the movie about a murder?
    Ss: No
    T: What is it about?
    Ss. Una mina que esta harta de su vida y después se arrepiente…
    T: It is about a woman’s feelings. She is not pleased with her life.

    b- The T asks Ss to answer the following questions in Spanish (L1):

    1- Who are the main characters?


    2- What is the problem?
    3- Who changes attitudes?
    4- Why does this character change attitudes?

    After watching
    T asks Ss to look at this screen shot;

    T asks Ss to choose which sentence best analyses this shot and why.

    1- Alli and her husband are having a good time.


    2- Alli is tired and she has seen something new across from the street.
    3- Alli and her husband have got tired of each other.

    Class II

    Introduction

    T gets sts to watch and listen to the song from the movie:

    T asks Ss :

    Is the song happy or sad?


    The song is an invitation to meet someone new. A man is probably singing to a
    woman. In your opinion, is the song Alli’s fantasy?

    Development

    a- T asks Ss to read the following text

    “This is strange to me; I have never felt this sensation. I


    cannot explain it. Here , we are watching the neighbours; I
    feel worn out . I feel really exhausted because I have got tired
    of my daily routine. The neighbours…. , they are different
    from my husband and me…”

    T asks Ss:

    Who is talking?
    Why is it Alli?

    b- Write these captions below the screen shots

    - Different worlds according to Alli


    - Alli’s tiredness
    - Alli’s surprise

    1 2

    3 4
    Close -up

    1. The T gives Ss these two links:

    https://tfma.temple.edu/node/8286

    https://es.slideshare.net/adurbecondita/el-lenguaje-del-cine

    2. T asks Ss to tell whether these statements are TRUE /FALSE


    a- Shot 1: Held uses a medium close- up with the camera because he is
    showing the setting.
    b- Shot 1: Held uses a medium close-up with the camera because he is
    showing some effect on Alli: she has got surprised.
    c- Shot 2: Held uses medium-long shot; he is describing the setting.
    d- Shot 3: Held uses camera movement because he is putting emphasis on
    some effect on Alli: she has got tired of her daily routines.
    e- Shot 4: Held uses a medium-close up; he is describing Alli’s fantasies.
    f- Shot 4: Held uses a medium- close up, he is showing Alli’s effect: the
    neighbours’ life has affected her.
    Class I

    Language Theories
    It is a fact that a language teacher plans her/ his classes on theoretical
    foundations. In spite of the fact that a teacher resorts to many theories , which
    delve into different fields of knowledge, in this class we are going to discuss
    which theories of language may underpin the strategies a teacher applies.

    Why is it important to analyse this issue related to theories of language?


    Because the teacher should define the object of study before teaching it. The
    way she / he defines it reflects her/ his view of knowledge, thus language. In
    previous years, we saw an introduction to the theories of language and the
    theories of learning. This was in second year. In third year, we set the focus on
    the theories that are basically interested in definining language from a purely
    linguistic aspect and the theories that are interested in making of language a
    cognitive phenomenon. If a teacher adheres to a purely linguistic view, her/ his
    teaching will reflect so. On the other hand, if a teacher believes that language is a
    cognitive skill, she/ he will teach accordingly. Neither theory is better than the
    other, though; they are just different and a teacher may even change the
    language view because of the school context. What a teacher should never do is
    to teach English "just because " or to teach it "in the way she/ he was taught". It
    is important a teacher know the reasons why she/ he is teaching English in the
    way she/ he does since this action should not be taken as something " natural" or
    "inhereted".

    This year we are going to see new theories of language. These theories do
    not bebunk the linguistic and the cognitive theories but add more aspects to
    these features. We are setting the focus on teenagers this year which makes us
    get into new sides of the same object: language. The teenage student has
    characteristics that will enable us to add more aspects to the already known
    ones for she / he has already developed some linguistic knowledge of English (L2)
    and she / he can go deeper into these from new perspectives.
    I would like to help you get into Claire Kramsch's theory via this means.

    I will unfold here the chart I wrote on the board during our last class and
    then I will try to link it to the thesis I had thought of.

    Claire Kramsh (CK) sets the relationship between learning a second language
    and subjective matters. When setting the focus on subjective matters, we should
    delve into the realm of meaning. It is then that we should tell subjective value
    from conventional value both assigned ,in this case, to the language at stake. For
    example: if we confront our students (SS) with the main character in the Tale tell
    heart by Edgard Alan Poe and just describe to our SS the character's insanity ,
    we may run the risk of just making this even more foreign to the SS. This would
    be applying the denotative perspective of meaning: the character is insane.What
    if ,then, we departed from a sort of gothic musical video -clip where the idea of
    the unconcious and how this can hunt the human soul were depicted? I should
    say that Edgard A. Poe does disclose the dark side of our soul in his work, he is
    far from giving the reader a medical report. Thus, connotative meaning might
    be more easily understood if we gave our SS the chance of their interpreting
    their own culture and how the multimodal grammar of the video-clip operates to
    cause an effect on the viewer. The same may be applied to approach a simplified
    version of Poe's short story. The L2 teacher will have to mediate through
    different gates: working on simplified plot and then working on original excerpts
    both in L1 and L2 for SS to get closer to the taste of language use in Literature.

    The subject when coming across a cultural artifact dismembers that object
    into signifier and signified; the physical layer of the artifcat may spark off
    different signifieds in the subject. CK gives many examples out of which we can
    see how the foreign language is taken as a cultural artifact. Many learners talk
    about their experience when learning a second language.All the accounts set it
    clear that conventional meaning will certainly clash with subjective meaning. The
    clash will give room for the self to emerge. Why does CK call it signifying self? It is
    a dynamic process since the learner will experience it when confronted with a
    foreign word, sentence and /or work of art. He /She will explain how far her /his
    connotations are from the denotations assigned by conventions.

    CK makes reference to second language learning ,not to foreign language


    learning, which makes us look for further links. Going back to our thesis: " The
    multimodal narrative from musical video-clips can be a springboard to spark off
    in teenage SS the need to approach canonical narratives from a more signifying
    angle.", I insist that the foreign matter in our classes does not lie so much on
    linguistic issues but rather on cultural ones. Therefore, guiding SS into reading
    the grammar of a video-clip will help them experience conceptual meaning .
    They will notice how the idea of fear can be represented by multimodal means -
    upper psychological process -, then, the same approach can be applied to a piece
    of art. Finally, the SS can be led to put out their signifying selves: what about a
    final task (FT) by means of which they had to describe what they felt when
    confronted by a new gothic tale /video-clip? Can they put out their breakaways?
    ( This 'breakaway' is what Vygostky will call 'inner speech'. When the human
    being clashes with conventions ,he /she will be able to materialise his / her
    thought).

    Lantoff as well as Kramsch need to anchor their psychological and cultural


    perspectives into the linguitic field. Cognitive Linguistics (CL) is the branch of
    linguistics that seems to fit here. Basically, CL claims that metaphors forge our
    thoughts. " Time is money" or "We are what we eat" reflect our concepts of
    leisure , labour , food... Concepts are historically constructed. These ,in a L2 class,
    may facilitate or hamper the learning of the language; therefore, CK proposes
    two different mental spaces get blended: Blended theory.

    Maybe, that in our classes we should get popular metaphors to blend with
    canonical metaphors. In doing so goes comprehension of cultural artifacts.
    Helping SS build bridges between both worlds will fuel their conceptual meaning,
    which will also activate their signifying selves. Once this semiotic context has
    been set, foreign words and grammar may claim more significance in the upper
    psychological process-grounded scenario.

    Kramsch's sygnifying self

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