I think GENRE is a very key component of this. different structures show up in different ways in different kinds of texts for good functional reasons. My experience has been that students coming out of high school have been exposed to "literary" texts in their English classes. In the state of New York, the emphasis is on "literary elements," those features of language that are thought of as peculiar to literature (a position that can be disputed.) These texts are organized quite differently from what are normally thought of as "academic texts," and they also differ quite a bit in their language patterns. I find that students coming out of high school cannot tell me the difference between a story and an essay; in fact, they tend to keep referring to essays as "stories" just out of habit. They expect to "interpret" what they read, without a strong sense that a good nonfiction text shouldn't have to be subject to interpretation in the ways they are used to. In other words, a good nonfiction text should make its meaning clear. Meaning in a literary text is often open and implied. It's interesting that fiction has a lexical density very similar to conversation. The lexical density of academic text is built around complexity in the noun phrases. Fiction has a much higher frequency of pronouns. Whereas fiction tends to organize around plot (and point of view), academic text tends to build coherence differently, quite often by making explicit reference to the text as a text. I work with students at the college level who will not, for the most part, be English majors. I find that they are radically underprepared for the kinds of reading and writing they will be doing in college, in part because high schools classes are so deeply organized around literature. I agree that academic writing can be thought of as a second language for most students. Our job is to mentor them into fluency with that language, and we cannot do so just through poems and plays and stories. Craig From: Assembly for the Teaching of English Grammar [[log in to unmask]] on behalf of Teresa Lintner [[log in to unmask]] Sent: Friday, January 06, 2012 9:37 AM To: [log in to unmask] Subject: Re: Spoken vs. formal written English Hi Herb, I am always so impressed by the depth of your knowledge and passion that you show for your work. The workshop you describe sounds absolutely wonderful. I only wish you had the notes. Best, Terre Teresa Lintner Senior Development Editor Cambridge University Press 32 Avenue of the Americas New York, New York 10013-2473 Telephone: 212 337-5070 Fax: 212 645-5960 Email: [log in to unmask] From: "Stahlke, Herbert" <[log in to unmask]> To: [log in to unmask] Date: 01/06/2012 12:49 AM Subject: Re: Spoken vs. formal written English Sent by: Assembly for the Teaching of English Grammar <[log in to unmask]> When I used the term “grammar in context” earlier in this context, I was intentionally using it in a broader sense that it typically has in the literature. A number of years ago I did a summer workshop for writing teachers in which we chose constructions and grammatical categories on the basis of discourse needs. So we dealt with constructions that change focus and topic, ways of foregrounding and backgrounding, etc. That led us to talking about phrases, clauses, parts of speech, grammatical relations, etc. always in the context of effective expression. Unfortunately, I no longer have the notes or papers from that class, but I remember iis fondly. The students, all secondary and middle writing teachers, were a very thoughtful bunch. Of course, Martha Kolln’s work is deservedly respected for its pioneering of this sort of approach. In my grammar classes, I’ve frequently used poems as objects of analysis. One of my favorites, and one of the most challenging, is Sir Philip Sidney’s sonnet “With how sad steps.” With how sad steps, O Moon, thou climb’st the skies, How silently, and with how wan a face! What! May it be that even in heav’nly place That busy archer his sharp arrows tries? Sure, if that long-with-love-acquainted eyes 5 Can judge of love, thou feel’st a lover’s case. I read it in thy looks, thy languisht grace To me, that feel the like, thy state descries. Then, ev’n of fellowship, O Moon, tell me, Is constant love deem’d there but want of wit? 10 Are beauties there as proud as here they be? Do they above love to be lov’d, and yet Those lovers scorn whom that love doth possess? Do they call virtue there ungratefulness? Sidney is, of course, mid-sixteenth c., which means Early Modern English, and that makes his language a bit of a challenge for students. As an exercise, try grammatically analyzing the four sentences found in the last six lines. On an old chestnut of a topic, the poem also illustrates some interesting historical phenomena in the uses of “that.” Line 3: “that” is a subordinating conjunction Line 5: “that” is an EME use of that to mark “if” as a subordinating construction. Line 8: “that” introduces a nonrestrictive relative clause, something grammars generally tell us is wrong. Line 13: “that” functions as in line 5, supporting “whom” as a subordinator. But that’s another topic. Herb From: Assembly for the Teaching of English Grammar [ mailto:[log in to unmask]] On Behalf Of John Chorazy Sent: Friday, January 06, 2012 12:15 AM To: [log in to unmask] Subject: Re: Spoken vs. formal written English Hello... I'm understanding that the "grammar in context" model means finding grammatical functions and processes that just happen to happen in a given piece of prose, academic or otherwise. But then what? We take out a sentence, a clause, a phrase, whatever and analyze it for its grammar (what other choice would we have, anyway, since we're bound to a few words at a time when reading that way?). If "context" simply means the plot, focus, theme, purpose, or audience of a text, then analyzing how grammar works specifically to that context is really more about analyzing rhetorical strategies (looking at bits of language for what they do to the larger whole and thus to the reader/listener). Looking sentence level for things like adjectives etc is looking at grammar isolated - and I'm not saying that's a bad thing. We study prepositional phrases first and then read Hemingway - and it clicks. Maybe I haven't seen a successful "context" model for the High School level... and to get back to the SAT and other high stakes tests, the grammar error identification questions look at single sentences without larger rhetorical/narrative context. We'd like to be able to approach many goals; carrying sound reading comprehension strategies that consider both grammar and rhetoric and also being able to pass a very cold state, board, or agency test is often a funky marriage for the average student. Teresa - we use Prentice Hall Literature anthologies for which Kate Kinsella happens to be a contributing author. I was fascinated by the "Academic English Second Language" assertion, as we've had this conversation among faculty dozens of times. Yet teachers simply go ahead and assign x number of pages to read and still wonder why students (who actually do pass their eyes over letters and words) come back and fail reading check quizzes. I'd like to know more about her comments and suggestions, especially since she writes for textbooks... Thank you... John On Thu, Jan 5, 2012 at 1:49 PM, Dixon, Jack <[log in to unmask]> wrote: Terre and Herb, Herb raises some excellent questions for us to consider as we think through how we teach grammar -- all the language arts, actually. I think his idea about "a much more thorough-going grammar in context model" is very important. I certainly agree with the idea of teaching grammar in context, but I have also observed that often "grammar in context" means not teaching much grammar (or language development) at all. Herb's idea of a more carefully thought through scope and sequence would be very helpful -- though I recognize all the problems confronting anyone willing to take on this onerous task. We've discussed this issue numerous times in one way or another on this site. Terre's integrated approach to teaching reading, vocabulary, writing, and grammar makes much sense. Finding those readings that students find relevant can certainly be a problem. (I've found one on car buying that my college students enjoy; the author, a former car salesman, discusses how customers are manipulated because of their ignorance.) Jack -----Original Message----- From: Assembly for the Teaching of English Grammar [mailto: [log in to unmask]] On Behalf Of Teresa Lintner Sent: Thursday, January 05, 2012 11:59 AM To: [log in to unmask] Subject: Re: Spoken vs. formal written English Hi Herb, Textbooks for teaching grammar to English Language Learners in secondary and higher education are going in the direction of teaching grammar in context, especially in more academic contexts. It's much easier to get students to use adjectives, say, if you start off with an article on worker's rights and then discuss the article as well as students' experiences afterwards. Students care about the topic and want to talk about it. Along the way, they learn the correct placement of adjectives as well as great vocabulary and other grammar that happens to crop up within the context. ...this just happens to be the approach taken on the textbooks series I'm working on. I'm not endorsing it, for the record. Best, Terre Teresa Lintner Senior Development Editor Cambridge University Press 32 Avenue of the Americas New York, New York 10013-2473 Telephone: 212 337-5070 Fax: 212 645-5960 Email: [log in to unmask] From: "STAHLKE, HERBERT F" <[log in to unmask]> To: [log in to unmask] Date: 12/26/2011 02:32 PM Subject: Re: Spoken vs. formal written English Sent by: Assembly for the Teaching of English Grammar <[log in to unmask]> Jack, You raise important questions or pedagogy and of content, questions we have discussed at length on this forum without reaching consensus. Should grammar be taught as content? Should it be taught as an adjunct to the teaching of writing? What you suggest is that a significant amount of grammar, grammar that is useful to writers, can be taught in the process of meeting the needs of developing writers. And this leads me to wonder whether a grammar in context approach might not be a way to introduce grammatical knowledge that we all think is useful and presenting it in a way that makes its relevance obvious. This suggests a much more thorough-going grammar in context model than we usually see in writing classrooms, rather, an approach that starts in early grades and incorporates grammar into language arts activities across the board. Not being a K12 teacher, I may be describing what some teachers are already doing. Herb -----Original Message----- From: Assembly for the Teaching of English Grammar [ mailto:[log in to unmask]] On Behalf Of Dixon, Jack Sent: Sunday, December 25, 2011 6:59 AM To: [log in to unmask] Subject: Re: Spoken vs. formal written English Terre: Thank you for your detailed response. I do want to check out Kate Kinsella's work in using academic vocabulary and sentence frames. (Any titles in particular where I should start?) I am familiar with "They Say, I Say" and agree that it can be useful for helping students understand those deeper cognitive structures that academic writers use - actually used by more than just academics. I would like a copy of your rubric if you are willing to share. Are the two essays you use pieces that you have collected or written yourself, or are they published somewhere so that I could access them? What I like about your strategies for teaching academic vocabulary and using sentence frames is that you are teaching students how to communicate without putting the focus on error. So many objectives that involve developing language proficiency involve error avoidance or correction. While correcting errors is important, teaching students how to accomplish larger rhetorical goals seems more productive to me. In my classes over the last few years (developmental writing and freshman English at an open-admissions community college), I have worked with sentence imitation, tied with comprehension. I take sentences with some level of structural complexity that I can be fairly sure my students will understand when we read and discuss them. I then model imitating the structure, not the content; we do a few together; then, I have them write a few original sentences which we read around the room. At the end of that session, the students feel they have done something important. My underlying goal is to show them that, in fact, they know more grammar than they think they do and that we are going to build on what they know. As we discuss how any given structure works, I begin to introduce them to the concepts of phrases, clauses, punctuation - all tied to the ways the meaning gets conveyed. Jack ________________________________________ From: Assembly for the Teaching of English Grammar To join or leave this LISTSERV list, please visit the list's web interface at: http://listserv.muohio.edu/archives/ateg.html and select "Join or leave the list" Visit ATEG's web site at http://ateg.org/ To join or leave this LISTSERV list, please visit the list's web interface at: http://listserv.muohio.edu/archives/ateg.html and select "Join or leave the list" Visit ATEG's web site at http://ateg.org/ To join or leave this LISTSERV list, please visit the list's web interface at: http://listserv.muohio.edu/archives/ateg.html and select "Join or leave the list" Visit ATEG's web site at http://ateg.org/