DOCUMENT RESUME FL 022 732 ED 388 032 WATESOL Journal, 1989-1994. TITLE Washington Area Teachers of English to Speakers of INSTITUTION Other Languages. 94 PUB DATE 184p.; Only three issues published (fall 1989, spring NOTE 1991, fall 1994) during first 5 years. Serials (022) Collected Works PUB TYPE WATESOL Journal; Fall 1989-1994 JOURNAL CIT MF01/PC08 Plus Postage. EDRS PRICE Childrens Literature; Class Activities; Elementary DESCRIPTORS Secondary Education; *English (Second Language); Error Correction; Females; Films; Foreign Students; Limited English Speaking; Linguistic Theory; Males; Professional Associations; Professional Development; Realia; Regional Programs; *Second Language 'Instruciion; Whole Language Approach; Writing Instruction Japanese People; Krashen (Stephen) IDENTIFIERS ABSTRACT "WATESOL" is an acronym for "Washington Area Teachers of English To Speakers of Other Languages." This document consisus of the only three issues of the "WATESOL Journal" published from 1989 through 1994. Fall 1989 includes: (1) "The Visual Voices of Nonverbal (2) "Literature for International Films" (Salvatore J. Parlato); Students" (Anca M. Nemoianu and Julia S. Romano); (3) "Male and (4) "The Influence Female Japanese Students" (Christine F. Meloni); of Teaching on Students' Self Correction" (Maria Helena Donahue); (5) "Creating a Precourse to Develop Academic Competence" (H. Doug Adamson, Melissa Allen, and Phyllis P. Duryee). Spring 1991 issue (1) "Children's Literature for LEP Students, Ages 9-14" incltides: (2) "Portable Mini-Centers for the (Betty Ansin Smallwood); Elementary ESL Classroom" (Mary Lou Kulsick and Pat Robinson); (3) (4) "The Fail-Safe "Shakespeare Made Simple" (Susan Lewis English); (5) "Conferencing with Micro Research Paper" (Mary Anne Saunders); ESL Students" (Nancy Hayward). Fall 1994 issue includes: (1) "Four (2) "Put the...On the..." (Les Sure-Fire Fillers" (Pam Monder); (4) "Realia and American (3) "Who?" (Les Greenblatt); Greenblatt); Culture" (Melissa Hess and Sandy Sklarew); (5) "Static Images: Creating Colorful Classrooms for Temporary Purposes" (Shirley (6) "Electronic Feedback: Responding to Student Writing Thompson); (7) "Storytelling: Authentic Learning from the On-Line" (Run Corio); Heart" (Joan Leotta); (8) "Classroom Implications of Krashen's Writing Theory: The Use of the Double-Entry Journal" (Carroll Fox); (9) "Teacher-Centered Versus Child-Centered Approaches in English (10) "A Whole Language-Process Instruction" (Nobuhiko Akamatsu) ; Writing Model for Production of a Multicultural Text by ESL Students" (Henry J. Amador). (NAV) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** 411# (Nil 0 en 00 00 en r: LL1 U S DEPARTMENT OF EDUCATION Office of Educational Researcri a id improvement EDUCATIONAL RESOURCE. INFORMATION CENTER (ERIC) -PERMISSION TO REPRODUCE THIS i(Drhis document has been reproduced as MATERIAL HAS BEEN GRANTED BY received Irom the person or organization originating it O Minor changes have been made to improve reproduction quality Oekc,r, Points of view or opinions stated in this document do not necessarily represent official OERI position or policy TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) ST COPYAVAILARLF _........41.- =TM Editor University Christine Mcloni, The George Washington Assistant Editor University Ellen Haack, deorge Mason Editorial Advisory Board Pennsylvania Ali Aghbar, Indiana University of Robcrt Giron, Montgomery College Public Schools Linda Hughes, Prince George's County Linguistics Dorry Kenyon, Center for Applied . . Lois LanierUniversity of Maryland - UhiverSity University of America Anca Nemoianu, The Catholic Community College Carole Ryczek. Northern Virginia - Production Credits Design &"...TYpography Ink. Marney and Phil Jacobs/Desktop Printing & Binding Charbray Printers, Inc. C7opyright :,"'s I 989 WAsHING 1-ON AkEA TEACIIH,:, OF LANGUAGES TO SPEAKERS OF OTHER (WATESOL) BEST COPY AVAILABLE 3 WATESOL Journal Fall 1989 The Visual Voices of Nonverbal Films Salvatore J. Parlato 1 Literature for International Students Anca M. Ncmoianu and Julia S. Romano 5 Male and Female Japanese Students Christine F. Mcloni 15 The Influence of Teaching on Students' Self-Correction Maria Helena Donahue 27 Creating a Precourse to Develop Academic Competence H. Doug Adamson, Melissa Allen, and Phyllis P. Duryee 37 Book Reviews 47 Author Guidelines 54 4 elcome to the first issue of the WATESOL Journal. Our hopc is V V that this journal will serve as a forum for thc work of WATES01, members, reaching a wider audience than is possible through presen- tations at thc local conventions. In keeping with the emphasis of thc journal, on teaching techniques and teacher-conducted research, this first issue contains two articles which suggest successful teaching materials and methodologies and three articles, which present the results of classroom research. The issuc concrudes with five book succeeding issucs of thc revews, a feature we hope to continue in the journal Wc encourage you not only to benefit from the articles written by fellow WATES01. members, but also to allow othcrs to benefit from thc journal. your work, by contributing to the future issues of We would also like to take this opportunity to extend our sincey: thanks to thc members of the WATES01, Executive Board. especially Terry O'Donnell. the current president. for their unfailing support and encouragement. Christine Mcloni Ellen Haack of al Voi Nonver i1 Fil Salvatore J. Parlato The class is fairly typical: Kimleng, Films without words are a Shawali, Diep, Sita, Cheuth, and fifteen staple of deaf education other refugee adults. All of them are intel- and, because five from ligent; each of them is motivated; every one of them is eager to master the mysteries of the pre-determined language English language cn routc to entering the or interest levels, are espe- American workplace. How can students like cially suitable for ESL these be reached? One answer may be by With Red Balloon as its borrowing from deaf education where the use model, this article provides of nonverbal films is an accepted staple of instruction. a raiionale, utilization suggestions, a source for How can a film without words help anyone ficrther reference, plus a teach words? The answer, briefly, is by pro- mini-filmography of viding the stimuli for language that viewers fifteen short nonverbal themselves can generate. This flexibility of format can free both teacher and students titles. from the pre-determined vocabulary limita- tions that arc, unfortunately, built into most Salvatore Parlato, firtnerly of video/ film programs. Montgomay County, teaches in the Greece (NY) Schools near "Nonverbals" isn't just a fancy ncw term for Rochester. He has served as old-fashioned black-and-white silent movies. consultant for the WHO Unlike those Chaplinesque nickelodeon Nonverbal Comnumication PrT'ect. flicks, nonverbals do include sound, but they don't usc thcir soundtracks to produce thc rat-tat-tat of word-packcd dialogue. Instead, this wordless medium employs sound as sound, that is, in thc form of rustling branches, grinding machinery, animal calls, mood music, or even snatches of conversa- in othcr words, ambient audio that's tion directly related to the on-screen activity. BEST COPY AVAII '11.E The Visual Voices of Nonverbal Films 2 Aside from that minimal aural aid, there's precious little noisc pollution media let to intrudc upon thc message of the moving image. Nonverbal the visuals tell thc story. These talk-free media aren't really meant for hearing-impaired per- useful with deaf learners, arc sons. Films without words, although this actually designed for hearing viewers. The best evidence for This paradox is the prototype of them all, namely, The Red Balloon. boy international favorite is a photographic fantasy about a Parisian friend whose inflatable toy becomes not only a companion, but truly a France in need against a bunch of after-school bullies. Produced in three major points more than thirty years ago, The Red Balloon proves cultural about good non-narrated pictures: (1) they over-ride the usual boundaries; (2) thcy don't show thcir age; and (3) they appeal to more than one age level. Utilization How does one go about using a nonverbal film in the ESL classroom? and Begin by showing thc film. This shoUld be strictly introductory unstructured, giving the storyline a chance to create its own impact. This "hands off' approach allows thc magic of movies to take viewers that everybody out of their every day lives and into a new experience equally and simultaneously. (teacher included) can share though, Ncxt, schedule permitting, show the film again. This timc, really daring call out questions during kcy scenes. In fact, do something TALK- by encouraging what is normally taboo while watching a movie: of the ways ING. But talk about what's happening on screen. That's onc nonverbals can liberate audiences from the tyranny of canned third- their own party narration, allowing teacher and students to provide and concept. commentary. The class controls thc choice of vocabulary Then, use focused data-specific questions to generate post-showing US? discussion. For example: "Where did this story take place: in the "When did it happen: in England? in France?" (now DO YOU KNOW?) Or: this year? a fcw years ago? fifty years ago? (iiOW DO YOU KNOW?) Or KNOW?) "Was again: "How old was the boy in the movie?" (now DO YOU (11ow he happy or sad?" (now Do YOU KNOW?) "What was his problem?" From this relatively directed follow-up can be gained a DO YOU KNOW?) helping to gauge just how much sense of student comprehension, while action. language a given group can produce in describing the on-screen Sources Laurel-and Don't neglect the Charlie Chaplins, Buster Keatons, and silent gems Ilardys. ESL/EFL instructors the world over find these that may useful. But that genre does contain cultural limitations Besides, there hamper the achievement of more universal objectives. Balloons that are just as valid and are literally hundreds of other Red Too Good.for (Films just as versatile. In fact, a 1973 referencclook WATESOL JOURNAL/Fall 1989 3 Words; Parlato, out of print) itemizes 1000 of them. And in the last 16 years, at least another thousand equivalent titles have been released. But, as a starting point, begin with Red Balloon (34 min., Color, 1956). Or choose from the listing below. The descriptions arc minimal but factual enough to serve as a preliminary "shopping list" when browsing through the various video/film directories. A word of warning, though: non-narrated productions aren't always catalogued as such, and so, to identify them, some extra scrutiny may be necessary. Ah ... We Humans (11 min., 1980, West Germany/Benchmark Films) Animated satire on the universal foibles of humanity. Blue Dashiki (14 min., 1969, United States/Encyclopedia Britannica) Inner-city boy works hard to buy a prized African robc. Boarded Window (17 1 / 2 min., 1974, United States/Perspec- tive) Bierce's open-ended horror story, set in frontier America. Cosmic Zoom ( 8 min., 1968, animated, Canada/McGraw-Hill) Simulated trip to the inner body and outer universe. David (10 min., 1977, United States/Phoenix) The true story of a police error that kills a dcaf youth. Fable (18 1/2 min., 1972, United States/Xerox-Guidance Association) Marecau's pantomimc of fences becoming a self- made prison. Joseph Schultz (13 min.. 1973, Yugoslavia/Wombat) True story of a Nazi executed for refusing to kill civilians. La Vita (7 min., 1967. animated, Italy/Films Inc) The sporadic joys within Western industrialized life. Neighbors (8 min.. 1952. National Film Board of Canada) Ugly backyard dispute over of all things a flower. Occurrence at Owl Creek Bridge (27 min.. B&W, 1962. France/Ft) The pre-death fantasies of a Civil War spy; Bierce. Pinata (24 min.. 1976, Mar/Chuck) Mexican boys faith and perseverance are rewarded. Solo (14 min., 1971, United States/Pyramid) The achievement and danger of mow itain-climbing alone. Teamwork (12 mill., 1980. animated. China/FilinFair) Folktalc humorously shows the importance of cooperation. Whazzat? (10 main., 1975. animated. I ht ngary/ Encyclopedia 13ritannica) Indian fable of six blind men describing an elephant. Walking (5 min., 1970, animated, Canada/Learning Corpora- tion) Interprets the differences we display when on foot. The Visual Voice', of Nonverbal Films 4 Notice the copyright dates on these selections. They're not very recent but are tried, tested, and true Their content and their creativity keep them as valid as on the day of their release. But if vintage is important the newly formed TESOL and in the area of teacher-training it is Video SIG is an excellent way of assuring "state of the art%techniques and technology. (For further information contact Susan Stempleski, Hunter College IELI, Room 1025 East, 695 Park Avenue, New York, NY 10021: telephone 212 772 -4290). Conclusion "What strangc creatures we arc," mused the mother of a deaf child, "who think nothing is real if there isn't a word for it." That thought could explain the natural inhibition that some ESOL'ers may fccl about using an a-lingual medium. But then, others among us may adhere to E.F. Schumacher's claim that "Less is more." Whichever theory is invoked, there's a wealth of word-free/word -inducing wonders awaiting a world of Kimlengs. Shawalis, Dieps, Silas, and Chcuths! 9 . . A r rubs Li Intern ional E Jdents Anca M. Nemoianu and Julia S. Romano In the past decade we have witnessed an Within the framework of increasing concern with the role of litera- a renewed interest in the ture in the ESL curriculum, as can be seen in a number of articles which examine the issue, role of literature in the acknowledge the paucity of empirical and ESL curriculum, this ar- pedagogical research in thc arca, and offer a ticle presents a syllabus for variety of linguistic and cultural arguments an introductory American for introducing good literature in the ESL literature course, the classroom, along with specific advice on methods of presenting literature to non-na- pedagogical approach be- tive speakers of English (e.g., Marckwardt, hind it, and an account of 1978; Povey, 1979; Widdowson, 1982; how students construtted McKay, 1982; Gajdusck, 1988; Oster, 1989). the meaning of Eudora Thc lexical and structural complexity of Weltys A Worn Path. literary expression, the linguistic varieties spoken by the characters who inhabit fiction- al worlds, whose language very often departs Anca M. Ncmoianu is Director of from the standard grammatical forms taught the Intensive English Program at in language classes, as well as the wealth of the Catholic University ofAmerica. cultural detail and historical allusion, at one time arguments which kept literature away Julia S. Romano teaches ESL at from most ESL learners, arc now among the the Catholic University ofAmcrica very reasons for reconsidering the status of and The George Washington literature in the ESL. curriculum for college University. students. Just as appropriate input for developing oral-aural skills and knowledge of cultural contexts is the language spoken all around the learners, literature can provide thcm with a genuine linguistic input for developing additional registers, both in the oral and written modes, and for reaching deeper into the second culture. The functions of literature do not stop here. To paraphrase BEST COPY AVAILABLE