TEAAFL

• a binding and prescriptive list of esteemed, prestigious and traditional literary works – mostly by dead, white and male authors from the UK or the USA
• such a canon necessarily produces gaps and marginalizes less esteemed types of literature
• lively canon critique since the 1980s
• broadening of the literary texts that are read vs. similar text choices still made by teachers (‘hidden canon’)

Text choices: 

• (to be slightly reductionist): text choices that expand on, or are no longer reduced to, full-length novels written by white, male, heterosexual and dead authors from the UK and the US
• a canon revision that seeks to include “the distorted, drowned, forgotten voices in texts” (Volkmann 2007, p. 176) that provide alternative views on the world not shaped by – or expressed – through white, male, heterosexual, Western... viewpoints → DIVERSITY
  • Feminist perspectives:
    • female authors
    • female protagonists
  • Queer perspectives:
    • literature with LGBTQ+ themes
    • literature with LGBTQ+ protagonists
  • Ethnic diversity and post-colonial perspectives:
    • increased diversity of Anglophone societies outside of white perspectives
    • literary works from the postkolonialen Anglophone world
• a canon revision that seeks to include multimodal and digital text types as alternatives to full-length print novels (e.g. graphic novels and comics, picturebooks, feature films, short animated films)
  →TEXT FORMATS

• manageable in length and difficulty
• motivational appeal to learners
• thematic adequacy→needs to match with given topics
• authentic and representative in view of cultural issues
• appropriate for the age group
• suitable for creative and communicative follow-up tasks
• can be structured into sections = lesson

• structuring the engagement with literature and film into task sequences: pre-, while- and post-activities
• personal involvement with literature and film → learners develop subjective responses to literature (Reader Response Theory)
• analysis and interpretation of meaning: aesthetic, formal and cultural views on literature and film
• creative approaches: ‘production’, ‘action’ and ‘performance’

• Exercises or activities that are completed before reading a text or watching a film; provide a means of preparing students for the work with the text by activating prior knowledge
• used to build up excitement

⇒ Example: Watch the trailer/ read the summary and guess the outcome

• Exercises or activities that are completed while reading the text / watching the film
• can assist students in developing receptive competences can also ensure a more deliberate and intense examination of the text and steer the focus on certain aspects of the text

→ Example: Completing an action line while reading/watching (students write short notes on major developments in the text / film)

• Exercises or activities that are completed after the students have read a given text / watched a film
• activities help students to reflect on what they have read or watched
• provide a means to react to a text / film critically or creative

→Example: Writing or acting out an alternative end to the film/novel

Generating new texts through rewriting, expanding, or alienating the original text:

• creating an Instagram profile of a protagonist
• developing a character constellation chart with arrows that describe the relationships between them
• transforming a poem into a blog entry
• making a film poster for a novel
• inventing an ending to a short story, or rewriting the ending
• collecting reading impressions in a digital portfolio

• acting out a literary scene with a different character constellation
• carrying out an interview with the protagonist of a short story
• non-verbal presentation of an inner monologue
• creating a freeze frame for a text passage

• a medium is the means by which information and messages are transferred from one place to another
• usually, the material and technological characteristics of a medium are used for classification (e.g. print and paper newspaper; DVDs; e-readers, tablet)
• information is conveyed, or ‘encoded’, through the use of certain modes
• associated with given functions of the medium (e.g. reading for information, listening for entertainment)

A ‘mode’ describes the channels or means through which meaning and information are conveyed; if a certain medium uses one mode, it is called ‘monomodal’; if two or more modes are integrated, it is called ‘multimodal’ (e.g. auditory media, visual media, written media, digital media...).

‘Multimedia’ describes a context or system (e.g. a classroom) in which several media are combined and used alongside each other; historical shifts from additive analogue systems to integrative digital systems (with several media, serving several functions, in one device).

• a teacher must be digitally literate:
  • Digital literacies: the individual and social skills needed to effectively
    interpret, manage, share and create meaning in the growing range of
    digital communication channels
• a teacher must be able to create matches between EFL-related objectives and the use of digital media (e.g. language, communication, cultural learning, presentation)

→ no 'technological determinism' or 'tool fetish'

• A: digital literacy skills and IT-knowledge
  • e.g. How to use laptop / tablet and projector to show L2-videos
• B: digital life
  • e.g. Discuss questions of data privacy (as a topic in the EFL classroom)
• C: design digital materials
  • e.g. Create interactive quizzes for the EFL classroom (crossword, close, millionaire game, etc.); design digital handouts
• D: teach and learn with digital media
  • e.g. Create a lesson plan with cloud-based applications like Evernote, Google Drive, etc. in order to have ubiquitous acces to materials
• E: teach and learn with digital media in your subject
  • e.g. Use interactive EFL websites
• F: digital administration
  • e.g. Use digital grade sheets for your students (automatic algorithms, formulas, scoreboards, etc.)
• G: digital school community
  • e.g. Use a learning management system like Moodle to communicate with pupils and parents
• H: Digitally-inclusive Professional Development

.

• uncontrolled production of sounds; first vocalizations
• ability to notice differences between similar sounds
  •  auditory discrimination, e.g. pa ⇔ ba
• children do not seem to reflect on the language they hear (no interaction with others)

• stop making distinctions between sounds that are not phonemic in the language
• understanding of frequently/regularly repeated words and phrases
• interaction with others through L1
• production of first – usually monosyllabic – words

• creatively combine words in order to form more or less meaningful sentences
  •  telegraphic sentences: no prepositions or articles
• use of L1 word order (‘truck fall down‘)
• produce at least fifty words (some researchers call this the beginning of Wortschatzspurt)

• use of predictable language patterns (grammatical morphemes, negation, questions...)
• some children show a gap between language use and their cognitive development (i.e. regarding concepts they have grasped)
  • plural forms: children can distinguish between singular and plural long before they reliably add plural endings to nouns

data collected at one point in time across a population, e.g. children who are two, three and four years old
 

Data is collected repeatedly over time with the same people, for example, the same child at 2, 3 and 4 years old.

• children usually have acquired the basic structures and functions of the language(s) spoken to them
• first attempts of using language to express themselves
• growing understanding of variations in language use
• beginnings of metalinguistic awareness (language becomes a separate object one can operate with)
• growth of vocabulary (due to the understanding of different text genres; approximately more than 1000 words a year)

• development of metalinguistic awareness
  •  multiple meanings and ambiguity (e.g., jokes, riddles, ...)  
  • reading: language has form and meaning
• acquisition of language registers and a greater lexicon
• dealing with varieties of their L1
• ability to express themselves appropriately in different situations 

1. behaviorist
2. innatist
3. interactional

• Theory influential in the 1940s - 1970s
• Best-known proponents: B. F. Skinner and Robert Lad
• children imitate and practice the language they hear until they form habits of correct language usage (important condition: quality/quantity of L1)
• positive reinforcement establishes correct language habits (in stimulus- response-cycles)
• children do imitate selectively, esp. what is new in the L1 input (10%-40%), and then move on to ever new patterns
• can explain the acquisition of routine formulaic units, i.e. ready-made chunks in the language (‘Thank you!’ – ‘What’s that?’ – ‘Bye bye!’)

• adds social interaction with humans or caregivers as a central element to the equation of L1 acquisition, i.e. to the interplay between innate capacities and environmental input
• L1 acquisition as part of a child’s general learning from experience and cognitive development (rather than a separate language module)
• child-directed speech as a modified language that supports comprehension and offers feedback
• stresses the role of interaction between child and interlocutors as conversational partners

• Developed by Noam Chomsky in 1959
• Basic idea: children are born with an innate ability to learn languages
• Universal to all human languages
• Universal grammar: contains principles that are universal to all languages
• "Language depends on a specific module of the brain
• almost all children acquire an L1 successfully, clearly going beyond practicing and imitating input
• language input activates the biological capacity for L1 acquisition
• no evidence of LAD/UG as a specific and separate module of the brain
• assumption: there is a critical period for acquiring an L1
   

• children use developing language patterns creatively beyond pure imitation, and they overgeneralize new language rules (‘catched’ – ‘putted’ – ‘childs’)
• children can produce language they have never heard before rather than simply repeating language
  • (Wug test / ‘logical problem of language acquisition’ = gap between experience/input and level of competence achieved)