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=CRITICAL LANGUAGE AWARENESS=
 * WORKSHOP 72, IFTE, 2011**
 * THURS, 9-10.30 am, OGGB LAB 02**


 * PROFESSOR MIRIAM MEYERHOFF (DALSL, U OF AUCKLAND)**
 * m.meyerhoff@auckland.ac.nz**


 * DR. MARK AMSLER (ENGLISH, U OF AUCKLAND)**
 * m.amsler@auckland.ac.nz**


 * 1. Introduction: CRITICAL LANGUAGE AWARENESS**
 * Courtney Cazden, //Classroom Discourse: The Language of Teaching and Learning,// 2nd ed. (2001)**
 * Norman Fairclough, //Critical Discourse Analysis//** **(1995)**
 * James Paul Gee, //Social Linguistics and Literacies: Ideology in Discourses,// 3rd ed. (2007)**
 * Rosina Lippi-Green, //English with an Accent// (1997)**
 * Martin Heidegger, //What is Called Thinking?// (1951)**
 * Geneva Smithermann, //Talkin and Testifyin// (1977)**
 * Lev Vygotsky, //Thought and Language// (1934)**


 * What is the subject of English?**
 * Changing the Subject of English**


 * understanding and appreciation of:**
 * literatures**
 * textualities**
 * language**
 * writing and reading practices**


 * creativity IN language**
 * creativity AS language**


 * calculating thinking, ruminating thinking**


 * school, classroom as CONTACT ZONE (Massey, "meeting place")**


 * language mixing**
 * code mixing**
 * intersubjectivity**
 * sites of discourse and discourse analysis to make meaning**


 * 2. WHEN LANGUAGE IS THE SUBJECT**
 * teaching and using critical language awareness as tool and subject in itself**
 * language and power**


 * Pronunciation/sounds --**


 * Bits of meaning: morphemes and words and phrases**


 * Grammar**


 * Discourse**


 * 3. PRONUNCIATION/SOUNDS/SPELLING**


 * variable pronunications > dialect diversity > social stratification and subjectivities**
 * language mixing and code switching in the CONTACT ZONE**
 * identity, prejudice, or networking?**


 * //Grey's Anatomy// : the difference a sound makes -- How dirty is it?**

**//American Tongues:// Boston North End Philip, "I use them as assets.”** **< http://www.youtube.com/watch?v=Kmum-eT4hzM >**

**//Falling Down// scene in Korean convenience store – “You speak my language?”** **< http://www.youtube.com/watch?v=mA0nM8l8onE** >

**//Commitments// rehearsal of “Mustang Sally” – "Don’t use your own accents."**


 * Hawaiian Creole English and code switching**


 * What does WH "signify" in New Zealand? Whanganui, Whangerei**

**Why do many NZ English speakers say, [wΛmən] for //woman// (sing.) and [wΛmən] for //women// (pl.)?** **Do some English speakers in NZ pronounce the words this way more than others?** **How could we find out? What linguistic or social significance might we discover?**


 * What different types of written and spoken registers and language occur in the English classroom?**
 * to what purposes? negotiations? resistances?**


 * The invisible politics of variation:**


 * "Circle the word that makes a sentence.**


 * 1. She has a new red __.__**

__**pin pen pan**__

__**. . . .**__

__**3. This is a**__ **.**


 * tan tin ten**


 * (From primary school reading series, Economy Series)**


 * 4. "WHAT DO YOU READ, MY LORD?" "WORDS, WORDS, WORDS."**


 * Creating words and making meanings.**

Lewis Carroll, "Jabberwocky" (1872)

`Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.



"Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!" He took his vorpal sword in hand: Long time the manxome foe he sought -- So rested he by the Tumtum tree, And stood awhile in thought. And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back. "And, has thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!' He chortled in his joy.

`Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe.

//**Hamlet,**// **3.4 -- Thou, You**

__You__ are the queen, __your__ husband's brother's wife; And—would it were not so!—__you__ are my mother. __You__ go not till I set you up a glass Where __you__ may see the inmost part of __you__. Help, ho!
 * HAMLET** :Now, mother, what's the matter?
 * QUEEN** : Hamlet, __thou__ hast __thy__ father much offended.
 * HAMLET** : Mother, __you__ have my father much offended.
 * QUEEN** : Come, come, __you__ answer with an idle tongue.
 * HAMLET** : Go, go, __you__ question with a wicked tongue.
 * QUEEN** : Why, how now, Hamlet!
 * HAMLET** : What's the matter now?
 * QUEEN** : Have __you__ forgot me?
 * HAMLET** : No, by the rood, not so:
 * QUEEN** : Nay, then, I'll set those to __you__ that can speak.
 * HAMLET** : Come, come, and sit __you__ down; __you__ shall not budge;
 * QUEEN** : What wilt __thou__ do? __thou__ wilt not murder me?

**ENGLISHES IN NEW ZEALAND** **What words or phrases do New Zealand English speakers use in distinctive ways?** **//away laughing//** **//as// (scary as)** **//eh// (how many uses, places, meanings?)**

**What do people think about these words or phrases?** **Base on your research, who is more likely to use these words or phrases?**


 * How much do the texts read and preferred writing reflect or correspond to NZ Englishes? which ones?**


 * 4. GRAMMAR AND ALL THAT**

E. E. Cummings, "Anyone Lived in a Pretty How Town"
 * chunking and order make new meaning**

anyone lived in a pretty how town (with up so floating many bells down) spring summer autumn winter he sang his didn't he danced his did.

Women and men (both little and small) cared for anyone not at all they sowed their isn't they reaped their same sun moon stars rain

children guessed (but only a few and down they forgot as up they grew  autumn winter spring summer) that noone loved him more by more

when by now and tree by leaf she laughed his joy she cried his grief bird by snow and stir by still anyone's any was all to her

someones married their everyones laughed their cryings and did their dance (sleep wake hope and then)they said their nevers they slept their dream

stars rain sun moon (and only the snow can begin to explain how children are apt to forget to remember  with up so floating many bells down)

one day anyone died i guess (and noone stooped to kiss his face) busy folk buried them side by side little by little and was by was

all by all and deep by deep and more by more they dream their sleep noone and anyone earth by april with by spirit and if by yes.

Women and men (both dong and ding) summer autumn winter spring reaped their sowing and went their came sun moon stars rain


 * FINDING OUT ABOUT SYNTAX: THE 'WANNA' PROBLEM**
 * //Can you say ‘wanna’ whenever you wanna?//**


 * Compare: **
 * 1) //Where do you wanna go?// **
 * 2) * //Who do you wanna go?// **
 * 3) //Do you wanna banana?// **
 * 4) //I wanna banana.// **


 * How is each example expandable as a sentence? **
 * How are #3-4 different from #1-2? **
 * Which sentence(s) are not acceptable? What are people's attitudes toward such constructions? **

**BE forms and invariant BE and ain’t**

**I am / You are / He/she/it is** **We/you/they are / You aren’t / She isn’t / I amn’t??**

**How does //ain’t// work in these subject + verb constructions?**

**What registers and contexts are possible for //ain’t//?** **What registers and contexts are acceptable for //ain’t// ?** **What are the differences between the two registers?**

**Invariant BE and COMPLETIVE DONE forms (AAE, verb tenses, moods, aspects) -- difference between official grammar and grammar as usage** **"My coffee's cold."** **"My coffee cold now."** **"Coffee be cold there."** **"They done been shoppin."**

**(compare Polynesian languages forms of PLURAL)**

**5. IT'S ALL DISCOURSE.**

**Zora Neale Hurston, "Spunk" (1925)**

**A giant of a brown-skinned man sauntered up the one street of the village and out into the palmetto thickets with a small pretty woman clinging lovingly to his arm.**
 * "Looka theah, folkses!" cried Elijah Mosely, slapping his leg gleefully. "Theah they go, big as life an' brassy as tacks."**
 * All the loungers in the store tried to walk to the door with an air of nonchalance but with small success.**
 * "Now pee-eople!" Walter Thomas gasped. "Will you look at 'em!"**
 * "But that's one thing Ah likes about Spunk Banks -- he ain't skeered of nothin' on God;s green footstool -- //nothin'// ! He rides that log down at saw-mill jus' like he struts 'round wid another man's wife -- jus' don't give a kitty. When Tes' Miller got cut to giblets on that circle-saw, Spunk steps right up and starts ridin' . The rest of us was skeered to go near it."**
 * A round-shouldered figure in overalls much too large came nervously in the door and the talking ceased. The men looked at each other and winked.**


 * Retexting, Versioning, Intertextualities of Reading and Writing**


 * Writing Back (neomedievalism)**
 * Jamaica Kincaid, "Columbus in Chains" (from //Annie John// 1985)**


 * When I next saw the picture of Columbus sitting there all locked up in his chains, I wrote under it the words, "The Great Man Can No Longer Just Get Up and Go." I had written this out with my fountain pen, and in Old English lettering -- a script I had recently mastered. As I sat there looking at the picture, I traced the words with my pen over and over, so that the letters grw big and you could read what I had written from not very far away.**

Remaking Tone, Setting and Focus

1) Jakob and Wilhelm Grimm MS version: ‘Little Brother and Little Sister’ **There was once a poor woodcutter, who lived in front of a great forest. He fared so miserably, that he could scarcely feed his wife and his two children. Once he had no bread any longer, and suffered great anxiety, then his wife said to him in the evening in bed: take the two children tomorrow morning and take them into the great forest, give them the bread we have left, and make a large fire for them and after that go away and leave them alone. The husband did not want to for a long time, but the wife left him no peace, until he finally agreed.**

2) Jakob and Wilhelm Grimm published version: ‘Hansel and Gretel’ (1812) **At the edge of a large forest there lived a poor woodcutter with his wife and two children. The little boy’s name was Hansel, and the little girl’s name was Gretel. There was never much to eat in the house, and once, in time of famine, there wasn’t even enough bread to go around. One night the woodcutter lay in bed thinking, tossing and turning with worry. All at once he sighed and said to his wife, ‘What’s to become of us? How can we feed our poor children when we haven’t even got enough for ourselves?’ His wife answered, ‘Husband, listen to me. Tomorrow at daybreak we’ll take the children out to the thickest part of the forest and make a fire for them and give them each a piece of bread. Then we’ll leave them and go about our work. They’ll never find the way home again and that way we’ll be rid of them.’ ‘No, wife,’ said the man. ‘I won’t do it. How can I bring myself to leave my children alone in the woods? The wild beasts will come and tear them to pieces.’ ‘You fool!’ she said. ‘Then all four of us will starve. You may as well start planning the boards for our coffins.’ And she gave him no peace until he consented. ‘But I still feel badly about the poor children,’ he said.**