A Walk Along the Beach

[kellogg]

Ⅰ. Introduction

For primary English education in Korea, we have had a kind of tendency to focus on more speaking and listening than reading and writing. It is often misunderstood that only speaking and listening are essential skills to communicate and also we can separate the language skills when we say and teach and learn the language.

Do you really think anybody believes this? I have never really heard anyone say that writing is not a communicative skill.

It is certainly true that people DO say that we can separate the language skills when we teach the language. And in fact we DO this, we DID it for years when reading and writing was only introduced in the fifth grade.

But I don't think anybody argues that it is because reading and writing are unimportant or uncommunicative. On the contrary, I think it is because they are considered TOO important to acquire right away and TOO full of information for small children to master.

And of course there's a fair amount of evidence that this is true. Children "naturally" acquire spoken language many years before they acquire written language. So it's "natural" to think that they will do the same thing when they learn a foreign language.

Pehaps the problem here is really the idea that language is a "skill", like typing or riding a bicycle. There ARE some aspects of language that are like that. Pronunciation is like that. And so is handwriting. And since these "skills" seem to be quite teachable using P1, P2, P3, we do have a tendency to teach language as skill.

When we communicate with someone, we need a kind of topic as a text and the text is not only the written form but also oral form.

Is a topic a text? Doesn't talk usually have a topic too?

We need a textual trace when we talk. Kellog and Li said, "And in fact, the talk is entirely text, because without this textual trace, we could not possibly reconstruct the two people who said it, who actually only talk and only exist in this text and nowhere else on this earth."(Kellog and Li, A talk in Text: speaking of writing in language teaching and writing of speaking in Literature,2010)

But Li is really talking about Jane Eyre and Edward Rochester, in Charlotte Bronte's novel. It's probably more useful to look at what Kellogg says about the TALK in Lim and Kellogg's article (see p. 4!)

 Therefore, from the point of view of communication, the teacher cannot teach a language without text and the students cannot talk without text.

Let's start here.

Two definitions, and two rather poetical comparisons:

a) TALK: The ongoing process--ear to mouth, face to face--of making a text. Imagine two people walking barefoot along a wet beach.

b) TEXT: The traces--on paper, or in the memory--left by talk. Like footprints in the sand.

When we think about it this way, we see that it's not just about teaching. We cannot talk without leaving a text. And we cannot understand a text unless we somehow revive it in our minds as talk.

As I said, I think the word 기능 can be interpreted two different ways. One is as a SKILL. But another one is as a FUNCTION, as a way of storing or spreading knowledge.

It seems to me that if we interpret it as a FUNCTION, the idea of integration becomes much more powerful and much more concrete. Instead of adding listening and speaking, or adding listening and speaking to reading and writing, we can look at how the language we use to talk and the language we store as text can be RELATED. 

One advantage of looking at it this way is that it will help us look at one of the key problems of teaching today: the terrible gap we find between the teacher's language and that of the children, between the language of exposure and the language of use. Our task is not simply turning text into talk, but showing the children how they can learn to turn texts into talk and talk into texts for themselves.

This paper shows how one teacher integrates talk and text in 3 stages of the lesson: "Look and Listen", "Listen and Repeat", and " Listen and Answer". We will look at how the teacher can put herself both inside and outside the story in order to make the students be inside the story as well as to elicit the target expressions.

And of course this is one way in which we show the children how to turn texts into talk.

 The teacher uses the picture from the textbook in "Look and Listen", some pictures in "Listen and Repeat", and finally just imagine for the last part of this lesson to elicit talk. 

Good. We look at the people walking along the beach. Then we look at their footprints and remember the people. And finally we can just see footprints and IMAGINE them. That makes sense.

 This process shows also while the teacher develops the stages to lead the students use creative abstract constructions, the learners use fixed expressions, item-based combinations and creative abstract constructions in each stages continuously.

Perhaps "lead" is too strong. We can create an environment where this is possible. But we saw that there are real problems when Ms. Hong tries to actually join in activities instead of listening in. When you are taking part, you are also taking somebody's place.

My own class is a good way to see this. I can now very clearly see that I spent too much time TALKING and not enough time LISTENING this term. It's very easy to do this! I have often thought that the cafe would solve this problem, because my students can read and write in their own good time. I think that the problem is that my grad students are NOT students. They are teachers, and teachers just don't have the time!

 To begin with, I will analyze how the teacher uses the picture of the text book to set the scene and create characters in the first stage of the lesson: "Look and Listen". This shows how the teacher uses open-type questions and closed-type questions to create the scene and characters (a).  Next, I will look at how the teacher casts the roles and develops the situations to put the students inside the story and how the teacher teaches the lines with the materials and put the students inside the story (b). Finally, I will analyse how the teacher helps (c) the students use fixed expressions, item-based combinations and creative abstract constructions in the "Listen and Answer" stages.

Some points for attention:

a) This paragraph makes it look like you ONLY talk about open-type questions and closed-type questions in the very first episode you discuss, "Look and Listen". But in fact you are much more coherent, more consistent, more analytical than that; you look at open and closed type questions in L&R and L&A too. That makes it much easier for you to look at the EMERGENCE of a more active role.

b) Your beginning is pretty abstract. I know how you feel; when I write I usually take a paragraph or two to put my feet onthe ground. (And, as you point out, when I write a book I usually take a whole introduction to do this!). But if you are going to begin on a very theoretical note like this, you should REMEMBER your theoretical constructs when you start analyzing data; don't just pick up ANOTHER construct. So you need to somehow connect "putting the students inside the story" with the idea of turning TEXT into TALK. Can you do it?

c) "Helps" is a lot better than "leads". Here's what Vygotsky say (and Tolstoy says):

20] 어찌되었든 톨스토이는 간섭의 모든 형태가 개념 발달을 지체시키지 않는다는 것을 파악하고 있었습니다. 개념 형성에서 단지 조잡하고 직접적인 간섭만이, 즉 두 점 사이의 최단 거리를 연결한 직선과 같이 이동하려는 시도의 간섭만이, 피해를 야기합니다. 다른 형태의 간섭은, 즉 더 정교하고 복잡하고 간접적인 교수 방법은, 이 발달 과정을 더 높은 수준으로 나아가게 할 것입니다. 톨스토이는 다음과 같이 적고 있습니다.

학생에게 말의 일반적 의미로부터 새로운 개념과 낱말을 습득할 기회를 제공하는 것이 중요합니다. 아동은 그가 접한 구에서 파악하지 못한 낱말을 듣거나 읽습니다. 후에 그는 다른 구에서 그것을 다시 듣거나 읽습니다. 이런 과정을 통해 그는 그것을 약간 모호하게 파악하며 습득하기 시작합니다. 결국에 그는 이 낱말을 사용할 필요성을 느끼기 시작합니다. 일단 그가 그것을 사용하기 시작하면, 그 낱말과 개념은 그 자신의 것이 됩니다. 이 똑같은 목적지에 이르는 천 가지의 다른 길이 있습니다. 그렇지만 나는 학생에게 의식적으로 새로운 개념이나 낱말의 형태를 전이하려는 것은 평형의 법칙대로 교수를 통해 아이가 걷게 만들려고 가르치는 것처럼 헛된 일이라고 확신하고 있습니다. 이런 종류의 어떠한 시도도, 자신이 꽃이 피는 것을 보고 싶다는 이유로 꽃 봉우리를 감싸고 있는 꽃잎으로 꽃을 만들려고 시도하는 사람의 조잡한 손과 똑같이, 학생을 의도한 목표로 나아가게 하지 못할 것이며 그 과정을 방해하게 될 겁니다(ibid, p.146).

Seve: However, Tolstoy himself understood that not all intervention necessarily retards the process of concept development, that it is only a gross, direct intervention which proceeds in a straight line and by the shortest distance between two points, which cannot help but be damaging. Methods of indirect teaching, more fine, more complex, constitute on the other hand an intervention which makes the process of development of concepts in children progress higher and faster. "We must," Tolstoy says, "furnish the student with occasions to acquire new concepts and news words beginning with a generalsense of the discourse. If he understands or reads an incomprehensible word in a comprehensible phrase, and then another time in another phrase, he will begin to represent to himself confusedly the new concept and will eventually feel an occasion where the use of the word seems necessary. Once he has used it, the word and the concept become his property. There are a thousand other paths. But to deliberately give to a student new concepts and new forms of the word is, in my mind, as impossible and vain as to teach the child to walk according to the laws of equilibrium. All attempts of this type, far from making the child progress, take the child still further from the goal, just like the crude hand of someone who, hoping to help a flower blossom, sets to unpeeling the petals and destroys everything."

Ⅱ. Setting the scene

- How the teacher uses questions to set the scene and creates characters? 

        To figure out "how the teacher set the scene" I counted all the teachers questions at the every stages and classified with open-type or closed-type questions. I focused on the meaning and considered the context to classify the questions. I divided the questions as the meaning but I cleared some exceptions below the chart.

Look and Listen(n=39)		Listen and Repeat(n=12)		Listen and Answer(47)
Open type Questions	Closed type Questions	Open type Questions	Closed type Questions	Open type Questions	Closed type Questions
T: "What do you think? How do you feel?" S:@#$%#	T: Let's go and see it, Let's go and see what? S: Let's go and see uh,, Namdaemun.	T: When do you see very tall man, how can you say? Ss: What a tall man.	T: What a beautiful...? S2: girl.	T: What happen? Ss:깽..하하..꽝..끼익.	T: I am a foreigner and you are? S1: Jinho.
24	15	3	9	4	43

 This table shows that the teacher uses open-type questions more than closed-type questions at the beginning of the lesson, "Look and Listen" and gradually uses more closed-type questions at the last of the lesson. This means that the teacher uses open-type questions to set the scenes and create characters. In other words it means also she invites the students to be involve in the setting and makes them more motivated. For building motivation, this open-type questions could be successful, but the learners' answers are not clear (T:"What do you think? How do you feel?"/S:@#$%#) because the students can not express their thoughts in English fluently yet.

True. But the teacher also knows that we cannot express their thoughts for them, and that even if we could do this we could not expect them to learn how to express their thoughts for themselves that way.

So instead she uses open questions and helps them select from their answers. In THIS way she is HELPING. But not leading. She does not walk along the beach for the children. She only shows them the footprints in the sand and asks them who made them.

Look at this example:

T: OK. Do you remember anything from the dialog?

Ss: Yes.

T: Can you tell me anything about the dialog?

Ss: (gigling)

S2: Uh... They rode a cable car and went to the tower and..They went to the tower and they met some foreigners. and They saw a very big city and...

Naturally the students respond with just yes/no or gigling and mumbling, even when the teacher asks "Can you tell me anything about the dialog?" to free (????) the students from the dialog. However unexpectedly one girl explains almost the whole story from the dialog with creative abstract constructions (e.g. "Uh... They rode a cable car and went to the tower and..They went to the tower and they met some foreigners. and They saw a very big city and.......").

But remember what this is an example of, Miyeong. We want this to be an example of how the teacher HELPS the children to select.

On the face of it, this is NOT a good example. S2 selects HERSELF and is not selected by the teacher. The teacher doesn't really select anything that S2 says for rebroadcasting or recasting or refining in any way. (I think she just says "Oh, good!").

But Miyeong's point is a little different. She wants to show how the kids are able to SET THE SCENE and CREATE THE CHARACTERS for themselves.

And here we have some good evidence. Some of them can, and some of them can't. And by the way, even S2's response is quite incomplete--it doesn't include the NAMES. So HERE is where the teacher is going to help, and this is what explains the OPEN-->CLOSED problem solving sequence which we observed.

The teacher checks the students' understanding by asking both open-typed questions and closed-type questions.

T: Yes, you can see the people. who are they?

S6: They are Jinho

When the students get closed-type questions they can answer well(e.g. "T: Yes, you can see the people. who are they?/ S6: They are Jinho "). Therefore, when the teacher builds the scene and characters enough she uses more closed-type questions for other purpose of the activity. The teacher asked about some details using closed-type questions to check students' understanding (???) (T: You can see what?/ S6: Tower.)

Points for attention:

a) The children DON'T answer well. This sentence is not grammatical because complement doesn't agree with the subject ("They" is plural and "Jinho" is not).

b) It's not true that the teacher builds the scene. S2 built the scene quite well. The teacher is much more precise than that; she concentrates on the characters.

c) I think Miyeong implies that closed type questions ONLY have the function of checking students' understanding. I disagree--I think that TOGETHER WITH OPEN QUESTIONS they have precisely the function we are talking about, that is, the function of showing the chldren HOW TO SELECT, and in particular, how to select details about the intentions and wishes of the characters.

However, when we examine the "Listen and Answer" in more detail, we can find a teachers's strategy to help them use creative abstract construction by asking closed-type questions. The teacher extended the "Listen and repeat" part to the "Listen and Answer" so she brings characters from the textbook and cast roles and make a story with student's saying at the first exchange. At the second exchange, she doesn't use any material as a picture or listening script from the book but she casts role for her and the students to build a story. For the final exchange, she brings characters from the creative imaginary situation(e.g. "T: Ok. Let's change the setting. You are Ga-In elementary school students. and I'm a real foreigner who visit your school. Here. think about. you are on the playground.")

The first story is about the pictures so the students can not make rich creative expression‎!s well but some try. But in that case, the teacher should use complicated sentence that the students don't learn yet so it's not very successful. It makes the teacher set the scene differently. In the second story, there are more creative expression‎!s and of course there are some mistakes however the teacher don't correct them all. Because those are not the target expression‎!s. so she uptake a little and pass it. The students use their all knowledge of English to express their thinking and to tease the teacher. However, it still can not make rich context for target expression‎!s.

Listen and Answer	Exchange 1		Exchange 2		Exchange 3
	Open type Questions T: What happen? Ss:깽..하하..꽝..끼익.	4	Open type Questions	0	Open type Questions	0
	Closed type Questions T: You can see what? S6: Tower.	17	Closed type Questions T: I am a foreigner and you are? S1: Jinho.	18*(7)	Closed type Questions T: Where is her classroom? S1: in the..? T: Where? S1: Hurry, Hurry! S6: Next door! S4:Go straight.	8*(7)

As you see the table, the teacher doesn't ask open-type questions much through whole stage. Interestingly, she tries to make the students use more creative expressions but she asked closed-type questions a lot.

T: Where is her class room?

S1: in the..?

T: (You are on the playground.)

S6: 3층이 영어로 뭐지?

It shows she asked details with closed-type questions but the students have to answer with their own idea.

 They have to create the story and talk. Those questions do not have any right answers so it's a little different from other closed-type questions. The teacher uses closed-type questions to get the students' real talk. Actually she helps students to build a text to talk with very closed-type questions by narrowing down the choices from the context. It is also related to putting the students and the teachers both inside of the story.

Remember that at the beginning we really had to DEFINE text and talk in order to be able to talk about it clearly. Now, you can see Miyeong has to define closed type and open type questions.

a) Are they GRAMMATICALLY defined? In other words, is it a matter of whether it's a y/n question or a wh-question or a "tell me about..." question? Is "Do you know anything about this?" a closed question?

b) Are they DISCOURSALLY defined? In other words, is it a matter of whether there are many answers or only one? Is "Why is it dark outside?" an open question?

Ⅲ. Casting roles

- How the teacher casts roles as putting students and herself inside of the story?

I counted all the utterances from the teacher and the students and divided into inside of the story or outside of the story. For this, I considered being a role even though the teacher doesn't cast role for students. It means if the students answer the questions as being a one role in the text, I put the answers into inside of the story.

Good. Some roles are concrete, like "Mommy" and "Daddy" and later "teacher"and "student". They are full of the child's empirical experience and they are rich in perceptual memories. These roles are closely aligned with TEXT. But other roles are pretty abstract, like "player", "winner", "loser", "imaginary friend". These roles have to be filled out by a mental process that is really very much like TALK.

Look and Listen			Listen and Repeat			Listen and Answer
T	Inside	0	T	Inside T: Yes, it's very tall.	10	Ex 1	T	Inside T: Are you alright?	2
								Outside T: Repeat. What a nice day!	79
							Ss	Inside G1: What a nice day!	35
								Outside Ss: Nami's mom.	11
	Outside T: Yes, you can see the people. who are they?	122		Outside T: Yes, she is very beautiful. Look at this.	55
						Ex 2	T	Inside T: Where can I take a cable car?	15
								Outside T: You want to be a foreigner?	40
	Inside	0		Inside Ss: What a tall tower.	29
Ss			Ss				Ss	Inside Ss: Who are you?	18
								Outside S6: 3층이 영어로 뭐지?	3
						Ex 3	T	Inside T: Yes, It's in the school of course, but I want to go! where is it?	18
	Outside Ss: They are in the cable car.	65		Outside s: 벌새야.	10
								Outside T: OK, Good job.	24
							Ss	Inside S6: On the floor!	24
								Outside S11: 배쓰룸이 아니고 배드룸이야?	5

As the result of the table above the teacher tends to put herself outside of the text but the students tend to be inside of the story while they do the activities.

She creates the scene again with the pictures to make students discourse. As you see, the teacher and the students are totally outside of the story at the L&L stages. At this moment the teacher focus on the setting and students' comprehension so they are outside of the story. During the whole stages the teacher tends to be outside of the story and the students are almost inside the story. She puts the students inside of the story to make them discourse.

Good. She sends them for a walk on the beach.

T: OK.I'll divide into 2 groups like this. You are? what do you want? Jinho or Peter?

G1: Jinho..

The teacher also puts herself inside and outside of the story at the same time to join the conversation and help some students. She does 2 roles at that moment.

S1 : How can I help ...

T: She said "How can I help you?"(pointing to S1) OK.

T: Ah...I want to meet Miss. Pepper.

One interesting thing is that when the students are outside of the story, some students speak Korean to say to other pupils like (s: 벌새야) but it rarely happen so it doesn't influence to the main stream of being inside of the story.

Ss: What..a small bird.

s: 벌새야..

T: (You are on the playground.)

S6: 3층이 영어로 뭐지?

On the contrary to the teacher is tend to be outside of the story to help students, the students are outside of the story when they don't understand or need some help. Usually when the students are outside, they tend to use Korean to pupils. The good thing of being outside of the story is that the teacher can give some grammatical help to them and they can say more objectively.

Good. One important thing we learn from Miyeong's analysis is that the teacher's role is not STABLE. Just as we can see that the teacher uses MORE open questions at the beginning and MORE closed questions at the end, we can easily imagine that the teacher is MORE outside the story at some moments and MORE inside at others.

In Ms. Hong's data, we saw that the teacher's movement was from OUTSIDE-IN, at least in L&L and in most of the game activities. But here we see something rather different. The teacher gets things started, and then steps out. This MIGHT be a solution to the kinds of problems we were seeing in Ms. Hong's data.

  Ⅳ. Creative Abstract construction

- How the learners use Creative Abstract Constructions in each stages?

I chose some replies from the students as a form of sentence to figure out which sentence is fixed expression‎, item-based combination or creative abstract construction. I deleted the repeated sentences and counted only the first one when it repeated and some incomplete sentences as creative abstract constructions. Here is the result of this.

Look and Listen			Listen and Repeat			Listen and Answer
Fixed Expressions S1: Thank you.	Complete	11	Fixed Expressions	c	0	Fixed Expressions S9: Hurry up? --- S1: Watch out! -- Group1 : Ouch!	C	2
	Incomplete	0		I	0		I	8
Item-based combinations S1: Let's go and see uh.. Namdaemun.	C	2	Item-based combinations Ss: What a small bird.	C	17	Item-based combinations G1: What a big tower! G1 : What a nice day!	C	7
	I	0		I	1		I	0
Creative abstract constructions S2: Uh... They rode a cable car and went to the tower and.. they went to the tower and they met some foreigners.	C	5	Creative abstract constructions Ss: What a nice beach!	c	4	Creative abstract constructions S6: Look at that? S6: Uhh,, Take a cable car. Ss: Uh.. It's 10... a thousand...It's 10 dollars. S1: How can I help... S2: Oh, I'm sorry. Miss Pepper met... S4: It's near the World.	C	9
	I	7		I	0		I	16

        The students answer with various expressions to the teacher's questions and creative abstract constructions are shown through whole process. At the "Look and Listen"part, the teacher asks more open-type questions and obviously the students reply with creative abstract constructions. The "Listen and Answer"part include a kind of role-play as a T-S activity so the students use more creative abstract constructions. However, at the "Listen and Repeat"part the students can use some item-based combinations more than Creative abstract combinations.

  Good! And so we can see that the general movement is from CACs to IBCs, from OPEN to CLOSED. This tells us a LOT about the teacher's role in problem solving and helping. It is another reason why I think "helping" is really better than "leading". The word "lead" suggests something like closed at first and then open. But that's the opposite of what we see here.

        When we examine the real data more, we can figure out the teacher casts roles at the "Listen and answer" and doesn't cast any role for the "Listen and Repeat" stages and she shows some materials and make them guess and repeat her. Then the teacher tries to draw the pattern of the target expression‎!s by asking some questions which I have underlined below and the students reply with item-based combinations which is highlighted.

T: when you see that very tall tower, how can you say?

Ss: what a tall tower.

T: What a tall tower. good. when you see very tall man, how can you say?

Ss: What a tall man.

T: What a tall man. or.. umm..How about very big cow?

Ss: What a big cow.

Through this very simple activity, students recognize the basic rule of the sentence already. if the teacher wants to provide real context to say the target expressions, she has to provide the situation of the sentence, the meaning of the exclamation mark. So the teacher goes to the "look and speak" activity with some shocking pictures to present the feeling.

T: what do you want to say?(Showing the tall tower)

Ss: What a tall tower.

T: What a tall tower. good. OK, listen and repeat. "What a tall tower!"

Ss: What a tall tower.

T: Yes, it's very tall.

Ss: Yes, it's very tall.

As you see, almost all sentences are item-based combinations. The teacher focuses on "What a _____ ______!" expressions for 2 reasons. The one is that she wants to present the structure of the target sentence and the other one is to make the students understand the situations when they say the sentence.

It looks quite successful but, it's not.

Well, maybe it's HALF successful. Which half?

The students can notice the structure but not the real use of this sentence. They just repeat the teacher's accent. It can be successful to draw the students' attentions but not follow up conversation. This reveals follow up activities. I also notice here is the sentences are not real conversation. Because, those are not expressions from their thought. It's just description. During whole exchange of this repetitive activity, one student tries to make a fun with this but meaningfully here.

T: Yes, it's very beautiful. OK.(showing a beautiful girl)

S6 :What a beautiful man.

T: What a beautiful man?

S6 :What a crazy woman.

Ss: woman.

The S6 is a boy so when he sees the pretty girl picture he tries to be naughty and avoid female character with the utterance ("What a beautiful man!"). The teacher uptakes his utterance right after he says. However, he does not change his mind and replies ("What a crazy woman!") while the others students fix his wrong expression‎ for the picture.

But he DOES change--from man to woman. Why is "crazy woman" wrong for this picture? Beautiful girls can sometimes be crazy, can't they?

Anyway he escapes from the boring job, making item-based combinations with pictures and finally make a creative abstract constructions.

Yes, JOKING is an important function! It's a way of introducing talk into text.

Interestingly, even though the teacher asked the fixed expressions, some students say some item-combinations already which is underlined.

S2: What a big tower?

T: What a big tower! What a big tower? What a big tower?

Why the differences in intonation?

The student says the item-based combinations unintentionally but it shows they understand the meaning of the expression‎!s.

Another interesting thing is that when I listen to the dialog, I also thought there is "What a big city" sentence but there isn't. The student who says "What a big city." totally understand the whole story and the pattern of the target expression‎. In this stage, only few students can express their understanding with item-base combinations except the one who can explain the story. It shows that the fixed expression‎!s are presented by students' memory and the teacher cannot check the students understanding but only can check just hearing itself.

Where's the "What a big city" data? Miyeong needs to present this data if she is going to talk about it!

When we think about the quality of CAC not the quantity of CAC in this data, we can get some result from the table here.

Isn't this quantitative and not qualitative data?

Look and Listen			Listen and Repeat			Listen and Answer
Fixed Expressions	C	11	Fixed Expressions	c	0	Fixed Expressions	C	2
	I	0		I	0		I	8
Item-based combinations	C	2	Item-based combinations	C	17	Item-based combinations	C	7
	I	0		I	1		I	0
Creative abstract constructions	C	5	Creative abstract constructions	c	4	Creative abstract constructions	C	9
	I	7		I	0		I	16

As you see the table, the students uses more incomplete CAC than complete CAC. It happens through whole lesson so even though the number of CAC at the "Listen and Answer" stages is more than the number of CAC at the other stages it does not mean that the students develop their target language.

If we accept that "tall, thin" talk is the way in which "short, fat" text develops, isn't it possible that INCOMPLETE sentences are a sign of EXACTLY what we want--the tall, thin talk that shows that development is underway?

There's another problem. Remember this?

Tony's Uncle: I have cows, too.

Minsu: How many cows?

Tony's Uncle: Seven.

The sentences get shorter and shorter, because full sentences are LESS and LESS NECESSARY. That is because Tony's Uncle and Minsu understand each other BETTER and BETTER.

So it's quite possible that the increase in incomplete sentences might reflect:

a) more development, more experimentation, more proleptic learning

b) more understanding, more comprehension, more elliptical reference

 Because the rate of incomplete sentence is almost same with at the beginning(the rate of complete CAC sentence of whole CAC sentence at L&L : 42%) and the last of the lesson(the rate of complete CAC sentence of whole CAC sentence at L&A : 36%).

Yes--but let's not forget that the CACs were largely the property of ONE student (S6). Was that true at the end too?

Ⅴ. Conclusion

- From the text to the talk

The aim of this paper is to examine the real classroom data to figure out how to elicit talk from the text by teacher's strategies and how the learner uses creative expressions in the lesson.

For the first step, the teacher uses various typed questions to set the scene and create characters. This means she brings some text to make a talk from it with the students. She uses open-type questions to draw students attention and invite them into the story, and gradually uses more closed-type questions to check students' understanding. Only this? However she also uses closed-type questions to create CAC utterances from the students. Right! The teacher's another distinct strategy to make a talk from the text is putting herself and the students inside and outside of the story. Good. When they both are inside of the story, they got cast and being a character and use target expressions. When the teacher is outside of the story, she is a storyteller or helper to the students but when the students are outside of the story, they tend to speak Korean more and also they need some grammatical or vocabulary help.

Except for the long retelling at the beginning, of course!

The students uses fixed-expressions, item-based combinations, and creative abstract combinations through the whole lesson. They say fixed-expressions a lot through whole lesson. They use CAC at the last of the lesson the most, but when we look into the quality of the sentence, unexpectedly the teacher can get the better one at the beginning of the lesson. It is related to the teacher's open-type question strategy.

Right.

 The students use more creative expressions when they get the open-type questions but their lack of the knowledge of language and skills makes less result of the number of CAC utterances.

To develop the text to the talk for the communication, the teacher tries to make a role and invite the students inside of the story and make them develop the talk by themselves. In the data, we can see the teacher cannot reach the level of Student-Student activity and the students get limited chance to talk. However, students CAC is very meaningful to teachers. If the teacher develops the activity to the free to talk by themselves, we can get more good result from the lesson.

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Terrific work. Now, when we talked on Tuesday we made an interesting distinction between MAIN ACTIVITY and LEADING ACTIVITY. The leading activity here is, of course, the CAC in general and the COMPLETE CAC in particular. But what about the main activity?

At the end, Miyeong concludes by saying that the children might do better in S-S interaction in terms of their CACs. Isn't it ALSO possible that they will simply revert to the MAIN activity for their level of development?