Languages for intercultural communication and education


participant, and supporters should therefore try to be aware of the effect



Download 1,12 Mb.
Pdf ko'rish
bet47/162
Sana19.05.2023
Hajmi1,12 Mb.
#941369
1   ...   43   44   45   46   47   48   49   50   ...   162
Bog'liq
CorbettAnInterculturalApproachtoEnglishLanguageTeachingLanguagesforInterculturalCommunicationandEducation7


participant, and supporters should therefore try to be aware of the effect
they are having. The type of conversational support given in English can be
compared with that of the first language, for example, by introspection,
observation and discussion of L1 behaviour, or by cross-curricular work in
the L1 classroom.
Second-storying activities
The two previous tasks concentrate on conversational subskills; namely
initiating a topic and supporting your conversational partner. The final two
tasks focus on the generic level, and so approach full conversations. The
cultural function of ‘second-storying’ was discussed briefly above: telling
similar stories on the same topic offers the opportunity for people to dem-
onstrate that they share both common experiences and evaluations of those
experiences. A group affinity is therefore established. By ‘capping’ the
previous story in a second-story sequence, however, the story-teller can
Culture and Conversational English
63
C:\Documents and Settings\Stephen Cracknell\My Documents\corbett\corbett.vp
13 August 2003 16:39:03
Color profile: Generic CMYK printer profile
Composite Default screen


gain prestige within the group. Second-storying, therefore, bonds groups
together and negotiates status within the group.
Second-storying is relatively easy to teach. Most language courses
encourage students to tell personal narratives on a topic such as ‘my
holiday disaster’, or ‘how I got this scar’ (cf. Morgan & Rinvolucri, 1986: 89–
90). From telling stories to second-storying is a small but significant step.
(1)
Participant roles
: three or four friends or acquaintances.
(2)
Conversational focus
: to share common experiences, and to try to ‘cap’
the previous person’s story.
(3)
Cultural purpose
: to bond members of a group and negotiate status
within the group.
(4)
Procedure
: one speaker tells a story on a given topic (e.g. ‘My fear of spi-
ders’ or ‘The day I outsmarted the boss’). The others in the group
support the speaker while s/he is telling the story. When s/he is fin-
ished, another speaker tells a story on the same topic: but it must out-do
the first speaker’s story, i.e. the story must be even more dramatic than
the previous tale. When the second storyteller has finished, the third
should take up the topic, and tell a third story, and so on until everyone
in the group has contributed.
(5)
Language exponents
: the storyteller will use past-tense narrative; the lis-
teners will use supporting moves, particularly evaluations (e.g. ‘That’s
terrible
’, ‘Good for you!’ and so on).
(6)
Opportunity for reflection
: after a second-story sequence has finished,
learners can reflect on the way each story-teller’s tale related to the
opening topic, and how successfully each member ‘capped’ the previ-
ous story. They can also reflect on the distribution of types of story by
gender in the target culture and (if appropriate) their own: do males
tend to tell stories in which they solve problems, and elicit admiration,
and do women tend to tell stories that elicit sympathy and laughter?
By slightly modifying story-telling activities so that they become second-
storying activities, their cultural purpose becomes much more evident to
learners. Second-storying is a staple of fictional discourse: Monty Python’s
‘Four Yorkshiremen’ sketch takes the genre to extremes by having four old
friends, at a reunion, tell ever more absurd stories of the hardships they
endured in their childhood. In
Jaws
, the shark-hunter and the marine
biologist, who are initially antagonistic, eventually bond by telling escalat-
ing stories about how they acquired their scars. The film comedy,
Notting
Hill,
also has a second-storying sequence: Julia Roberts plays a Hollywood
star invited to an ‘ordinary’ English dinner party, where the guests
compete for the last piece of dessert by telling stories of their failures in life.
By being successful, Julia Roberts’ character is excluded from the group, so
64
Intercultural Approaches to ELT
C:\Documents and Settings\Stephen Cracknell\My Documents\corbett\corbett.vp
13 August 2003 16:39:03
Color profile: Generic CMYK printer profile
Composite Default screen


she bids for the dessert (and, indirectly, for group membership) by arguing
that her life too can be seen as a failure. In this scene, the function of the
stories in creating group solidarity, and also their competitive function, are
clear.

Download 1,12 Mb.

Do'stlaringiz bilan baham:
1   ...   43   44   45   46   47   48   49   50   ...   162




Ma'lumotlar bazasi mualliflik huquqi bilan himoyalangan ©hozir.org 2024
ma'muriyatiga murojaat qiling

kiriting | ro'yxatdan o'tish
    Bosh sahifa
юртда тантана
Боғда битган
Бугун юртда
Эшитганлар жилманглар
Эшитмадим деманглар
битган бодомлар
Yangiariq tumani
qitish marakazi
Raqamli texnologiyalar
ilishida muhokamadan
tasdiqqa tavsiya
tavsiya etilgan
iqtisodiyot kafedrasi
steiermarkischen landesregierung
asarlaringizni yuboring
o'zingizning asarlaringizni
Iltimos faqat
faqat o'zingizning
steierm rkischen
landesregierung fachabteilung
rkischen landesregierung
hamshira loyihasi
loyihasi mavsum
faolyatining oqibatlari
asosiy adabiyotlar
fakulteti ahborot
ahborot havfsizligi
havfsizligi kafedrasi
fanidan bo’yicha
fakulteti iqtisodiyot
boshqaruv fakulteti
chiqarishda boshqaruv
ishlab chiqarishda
iqtisodiyot fakultet
multiservis tarmoqlari
fanidan asosiy
Uzbek fanidan
mavzulari potok
asosidagi multiservis
'aliyyil a'ziym
billahil 'aliyyil
illaa billahil
quvvata illaa
falah' deganida
Kompyuter savodxonligi
bo’yicha mustaqil
'alal falah'
Hayya 'alal
'alas soloh
Hayya 'alas
mavsum boyicha


yuklab olish