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thej o u r n a lof education and developmentEditorialLanguage IssuesRecognising Language and Creativity by Ron CarterDevelopments in Syllabus Design by Ruth Gairns and Stuart RedmanDoubling the Trouble by Yuliya SkalevaTeacher Training360 Degrees - Feeding back on Feedback by Julia BannisterHave You Got a Session on ‘Teaching’? by Nick HamiltonArt For Art’s sake by Thomas FritzClassroom PracticeThe RP Approach to Lesson Planning by Mike CattlinGetting Feedback The TA Way by Mario RinvolucriAh-ha and Hmmm- Those Magic moments by Judith Baker and Simon MarshallAffiliate NewsWhat’s going on in the IHWO - Michael CarrierWhat’s going on in the IHWO Office - Susanna DammannWho are The Most Important People in ELT? Rod FrickerUsing News and the Guardian Weekly in Class Max de LotbiniereReviewsWorking In English Language Teaching (Kogan Page)The Oxford Advanced Learner’s Dictionary, The Oxford CollocationsDictionary For Students of English, The Oxford Student’s Dictionary of English,The Oxford Wordpower Dictionary For Learners of English (OUP)Chit Chat 1 (OUP)Intercultural Activities (OUP)Intercultural Business Communication ( OUP)Business Grammar Builder (Macmillan)Issue No 13October 2002 5.00

Join the greaton-line debate!www.oup.com/elt/global/teachersclubVoice opinions. Share ideas.Talk to teachers around the world about:Correction Teachers’ BooksPronunciation CELTA trainingRecycling and revision Teaching listeningMotivation Vocabulary development Syllabus designEnglish as a changing languageArticles and discussionson-line now!Hosted by RuthGairns and Stuart Redman.Log on to the Oxford Teacher’s Club website and join the debate today!

ContentsEditorialpage 4Language IssuesRecognising Language and Creativity by Ron CarterContinuing the Language as Fun discussion, Ron looks at hownursery rhymes and word play inform our language-learning.page 5Developments in Syllabus Design by Ruth Gairns and Stuart RedmanTwo of the most experienced coursebook writers in ELT discusstheir approach to their new book - language as people actually USE it.page 9Doubling the Trouble by Yuliya SkalevaAn IH teacher looks at the rationale (and lack of it) behind one of thoseniggling little spelling rules.page 11Teacher Training360 Degrees - Feeding back on Feedback by Julia BannisterHow do your trainees actually want to receive their feedback?page 13Have You Got a Session on ‘Teaching’? by Nick HamiltonHow to get your CELTA trainees to teach to their strengths not theirweaknesses.page 15Art For Art’s sake by Thomas FritzThe relevance of research in linguistics to trainees’ practice.page 18Classroom PracticeThe RP Approach to Lesson Planning by Mike CattlinRedressing the balance between Reactive and Proactive teacherbehaviour in the classroompage 21Getting Feedback The TA Way by Mario RinvolucriA typically original approach to discovering what students or traineesreally thought of their time in your classroom.page25Ah-ha and Hmmm- Those Magic moments by Judith Baker andSimon MarshallThe IH conference session on how raising awareness raises learning power.page 28Affiliate NewsWhat’s going on in the IHWO - Michael Carrierpage 30What’s going on in the IHWO Office - Susanna Dammannpage 31Who are The Most Important People in ELT? Rod Frickerpage 32Using News and the Guardian Weekly in Class Max de Lotbinierepage 33ReviewsWorking In English Language Teaching Francesca Target (Kogan Page Publishing)page 34The Oxford Advanced Learner’s Dictionary, The Oxford CollocationsDictionary For Students of English, The Oxford Student’s Dictionary of English,The Oxford Wordpower Dictionary For Learners of English (OUP)page 35Chit Chat 1 Paul Shipton (OUP)page 36Intercultural Activities Simon Gill & Michaela Cakov, (OUP)Intercultural Business Communication Robert Gibson, (Oxford Handbooks forLanguage Teachers OUP)page 37Business Grammar Builder Paul Emmerson (Macmillan)page 38‘ihj October32002’

journal of education and developmentEditors: Rachel ClarkSusanna DammannSubscriptions Manager: Emma BaileyEditorial Board: Nigel BeanlandSteve BrentPippa BumsteadMichael CarrierRoger HuntJeremy PageScott Thornburye-mail: ihjournal@ihlondon.co.uk Tel: 44 (0) 20 7518 6900EditorialIn May this year, Susan Barduhn organised the IH Educators’Conference here at IH London. The theme this year was‘Recognition’ (as in recognising that something is true eithergradually or in a breakthrough moment; also, recognising thatsomething works). The conference opened with an excellentkeynote speech from Ron Carter (see the article in this issue onpage 5) and continued throughout the weekend with a series ofextremely stimulating talks interpreting the theme in a variety ofinteresting ways. One such talk was ‘Ah-ha!’ by Simon Marshalland Judith Baker in which we have on page .Emma BaileyThe Subscriptions ManagerIH Journal of Education and DevelopmentInternational House106 PiccadillyLondon W1J 7NLU.K.Welcome to Issue 13. Unlucky for some but clearly not for us.This issue is stuffed with good things both from our regularcontributors and from newcomers and we are sure you will findsomething to while away a coffee-break, inspire your next class,or give you food for thought in your TT. In particular, compareNick Hamilton’s and Mike Cattlin’s ideas - the next Big Ideaseems to be emerging.The Review section is fuller than usual this time: in fact pressureof space meant we had to leave out a very important addition tothe IH course-book corpus - the Language to Go series, all bypeople who are or have worked in IH London (Carina Lewis,Simon le Maistre, Minty Crace, JJ Wilson, Robin Wileman andAntonia Clare). What we’d like is for any of you out there in theIHWO who are using this series to get in touch and tell us howyou have found it in use. Email your thoughts to us here please:IHJournal@ihlondon.co.uk and we will make sure that we includethem in our Reviews section in the next issue.Next year International House will be celebrating 50 years ofexistence as one of the most pioneering, innovative and influentialorganisations in ELT. For many years IH was ELT. We would like tomark this occasion with a ‘Special Anniversary Issue’ which willrepresent the best of IH in the past, the present and the future.All suggestions as to material we mustn’t leave out gratefullyreceived, especially from those who have been with theorganisation a long time.The nature of ELT, with most of its practitioners working in farflung corners of the world, far from the centres of educationwhere most of us began, means that conferences are even moreimportant than in most businesses. They are often the ONLYopportunity a DOS or a teacher gets to mix and compare notesand moans with other people in the same boat. The thing aboutboats is how they are the same but also different, andcomparisons, far from being odious can be the most motivatingand inspirational experience of the year. In these straitened times,with an awful lot of ELT boats paddling hard to stay afloat (andsome going under alas - spare a tear for IH Shanghai) when airfares can be hard to find, the next best thing to a conference canbe the Journal. But, like a conference, it is only as good as itscontributors make it: so get onto the computer and startcontributing!The eagle-eyed among you may have noticed that one of youreditors is now occupying Antonia and Robin’s chair (hard acts tofollow) in the Affiliate Network department. One result of this inthis issue is the profile of the Affiliate Network office - sincenobody had time to send us a profile of their school, we thoughtyou might like to read about what goes on here.One other change is that we would like to start new section in theAffiliate Network News in which you can have the chance tounload your frustrations and problems and share your triumphsand satisfactions in the world of ELT. We know you’re busy, butjust write us a message - 50 words will do - and your name mightbe in print (You can also remain anonymous too if you want!). Onthe technical side, the only plea we make is that you send yourmessage as an attachment rather than the main text of the emailas it takes hours to unscramble otherwise.‘ihj OctoberRachel Clark and Susanna Dammann.42002’

Recognising Language and CreativityRonald CarterThe paper is based on the keynote paper given at the IH Educators Conference in May 2002 which was devoted to the themeof RECOGNITION. Ron Carter is Professor of Modern English Language in the School of English Studies, University ofNottingham. He has written and edited over forty books in the field of language and literary studies, applied linguistics andELT. Recent publications include: Exploring Grammar in Context (co-authored with Rebecca Hughes and Michael McCarthy),(CUP, 2000) and The Cambridge Guide to Teaching English to Speakers of Other Languages (ed with David Nunan) (CUP,2001).Starting points for applied linguistic studies can often beaccidental. It was several years ago now when the starting pointfor this lecture was found, somewhat unpropitiously, one darkand slightly misty autumnal morning as I was making my waytowards the check-in of, where else, Birmingham airport. My eyewas caught by a single line of red and blue letters spread outacross a large glass-fronted placard. The letters were the lettersof the alphabet. I looked more closely, not at first noticing thatone of the letters was missing and that its absence wasaccentuated by a gap between the letter p and the letter r, moreor less as follows:computer-based corpus which I had been compiling) onto aprojector in order for us to examine some of the ways in whichspoken discourses utilise lexical vagueness (‘a bob or two’,‘things’, ‘and stuff’, ‘and things’). Almost involuntarily I becamedistracted by the repetition of the word ‘bob/Bob’, a feature ofthis text to which I had not previously paid any particularattention:(Three students in Bristol (1995) are talking about the landlord ofa mutual friend:)A:B:C:B:Abcdefghijklmnop rstuvwxyzCloser inspection revealed, of course, that the placard was anadvertisement for an airline which counted among theproclaimed benefits of travelling business class the fact that therewere no queues to be had at its check-in desk and that checkin for passengers with hand luggage only could be undertakenautomatically by a machine.I began to consider why the word ‘bob’ was repeated, why thereappeared to be no straightforward semantic connection betweenthe two ‘bobs’, what kinds of attitudes and feelings may havebeen aroused for the speakers by the particular choice of thisparticular echo and just how conscious or otherwise such achoice might be.Several minutes later and sitting in the departures lounge mythoughts were interrupted by the person next to me, a youngIrish man who was holding a child (a little girl about eighteenmonths of age) in his arms and who was moving the childrhythmically back and forth while gazing intently into the child’seyes and occasionally rubbing his nose against hers. He wassoftly singing nursery rhymes which I had long forgotten havingsung to my own children but which were soon recalled almostverbatim with a surprising immediacy.These three seemingly unconnected instances are provokingand I have since then begun increasingly to puzzle over them andto explore parallels and points of connection. The first example,the no queue advertisement, is relatively easily recognisable asan instance of wordplay and textual semiosis designed tocapture a reader/viewer’s attention. Very often too, in such casesthe message is inexplicit and some interpretative work isrequired. There is a deliberate focus on the message whichdraws attention to itself in such a way that it holds the attentionby breaking with expectation. In this example, there is anestablished order that is broken by a missing letter, theinterpretative work thus centring on creative deviation from anorm.Hickory, dickory dockThe mouse ran up the clockThe clock struck oneThe mouse ran downHickory dickory dockDiddle, diddle dumpling my son JohnWent to bed with his trousers onOne shoe off and one shoe onDiddle, diddle dumpling my son John.The alphabetic sequence breaks and reforms but only after thereader/viewer, who has of course to be predisposed to do suchthings, has come to interpret a new and original slant on themeaning of the text. The text of no queue is a widespread andculturally pervasive example of creativity in everydaycommunication.Later that same day I found myself in a seminar discussing witha group of teachers some differences between spoken andwritten English and during the course of the discussion I put thefollowing short conversational exchange (extracted from a‘ihj OctoberYes, he must have a bob or twoWhatever he does he makes money out of it just like thatBob’s your uncleHe’s quite a lot of money erm tied up in property and things.He’s got a finger in all kinds of pies and houses and stuff. Acouple in Bristol, one in Cleveland I think.52002’

On the other hand, other idioms such as Bob’s your uncle serve,as I have already suggested, a more echoing function, repeatinga previous form, at least in terms of the word bob. The speakerappears to choose to repeat or at least to echo the pattern inorder to concur with the previous speaker. There is a clearideational content to the exchange here, for the speakers aretalking about the relative wealth of a local landlord, but, as in theexample of nursery rhymes, some of the language choicescreate a convergent relationship, in particular by negotiating andreinforcing a certain way of seeing things.I’d like to suggest that the example exemplifies the feature ofpattern-reforming.The second example is different in so far as the semanticcontent is less transparent. For example, what are the meaningsin this context of diddle and dumpling? They have establisheddictionary definitions but their normal referential meanings seemto be suspended in this instance, particularly since theremainder of the text asks us to forego any formal logicalunderstanding of why John might go to bed dressed in trouserswhile alternately dispensing with single shoes and socks. Andabout the mouse which runs up and down a clock seemingly inorder to coincide with the striking of the hour, the less said thebetter, particularly when it does so to the beat of the barelyintelligible hickory dickory dockAlso noticeable is the rhetorical figure of understatement.(another figure of speech by the way, normally only analysed inwriting!!). When speaker A states that the landlord must havebob or two he is implying that he is wealthy. The phrase is closeto idiom of course. It invites the other speakers not to take whatis said only at its most literal but also to evaluate what is said.Indeed, across this whole conversational extract, short though itis, there is not only a pervasively creative word play but the wordplay is doing more than merely displaying or achieving a focuson content. It is introducing a more affective element into thediscourse by creating attitudes and by creating and reinforcingrelationships. And as I have deliberated on this extract, a furtherintriguing feature is the precise nature of the echo of the wordbob/Bob which originally and almost involuntarily attracted myattention. There is no clear semantic parallel between a coin(bob) and a name (Bob) even in idiomatic form and so theparallel is either established accidentally or by means of analtogether more subliminal configuration - a possibility whichrequires cognitive as well as social or cultural explanation andwhich, like the nursery rhyme examples, forces us to considerlanguage use for expressive, affective and emotive purposes.about the mouse, theless said the betterThe communicative purpose of the nursery rhymes is of coursenot so straightforward or conventional as the no queueadvertisement. The context of the young Irish father singingwhen in close physical proximity to his daughter is crucial. Thecontent of the message matters less than its communicability. Itis performed rather than ‘read’. The sounds and movement ofthe rhyme, especially its repetitions, powerfully override thereferential meaning. Both nursery rhymes are representationalbefore they are referential, their primary purpose being torepresent and, by representing, to help to create a relationship(reinforced by the very physical act of rubbing noses whilesinging). The patterns of sound, lexis and grammatical structureare familiar and they are repeated, reinforcing rather than reforming a way of seeing and doing. In its way each nursery rhymeis as creative as the ‘no queue’ text, though, because repetitionis conventionally seen not to invent, in many Western societiesthe advertisement would probably be more highly valued for itscreative use of language. I hope, however, to challenge this kindof assumption.Anyway, what we do have in this third extract is an example ofpattern-forming and pattern-reforming working together. I aminterested in particular in those examples where we find bothfeatures, as it is those cases which are particularly challenging todescribe.Some of the questions raised by the examples we have lookedat are:I’d like to suggest that the example exemplifies the feature ofpattern-formingThe third example is more intriguing still. This spoken exchangedeviates from familiar existing patterns in particular ways. Take,for example, the ways in which idioms are used. Idioms areregularly fixed in their form (for example, you can take a shortsleep by having forty winks — though not normally ‘fifty’ or ‘thirtynine ‘winks) but in this exchange the idiomatic patterns are reformed and extended so that the established idiom to have afinger in every pie is creatively transmuted into:He’s got a finger in all kinds of pies and houses and stuff.‘ihj October6 why, particularly within literature and language study,creativity is conventionally seen largely as a writtenphenomenon; how spoken and written creativity differ and what theirrespective purposes are; whether speakers are conscious or unconscious of whatthey do on a daily basis; how and why creativity in common speech is oftenconnected with the construction of a relationship and withinterpersonal convergence; whether spoken creativity is confined to particular sociocultural contexts and to particular kinds of relationship;2002’

what the implications are for our understanding of creativitywhen something is planned and worked over several times(text 1), when folk memory and multiple rehearsals affect thespoken performance (text 2) and when the discourse islargely spontaneous and unplanned and only in part(possibly) rehearsed (text 3).what implications there are in all of this for ELT.Rampton’s studies is centred on multi-racial urban adolescentsin the South Midlands of Britain. It concerns “the use of Creoleby adolescents of Asian and Anglo descent, the use of Panjabiby Anglos and Afro-Caribbeans and the use of stylised IndianEnglish by all three” (Rampton, 1995). Rampton’s data goes along way to illustrate the degree to which members of thegroups studied engaged in crossing from one language toanother as part of day-to-day exchanges. Other typical samplesof data include contexts in which a fifteen-year-old AfroCaribbean boy teases a classmate, a fifteen year old Asian girl,about her having an older boyfriend by using a stylised AsianEnglish with marked Panjabi intonation in order to tease andencourage her to engage in playful banter.there are culturalconventions which donot assign positivevalue to emotionsMost instances found by Rampton involve the use of Creole andof Creole crossing. In Rampton’s data Creole is much moreextensively integrated by all speakers, indicating the extent towhich it is symbolic of all that is valued in the culture shared bythe adolescents in the study. In the following example, two boys,one Anglo (Alan) and one Asian (Asif), both aged fifteen are beingheld in detention. The extract shows them sp

The Oxford Advanced Learner’s Dictionary, The Oxford Collocations page 35 Dictionary For Students of English, The Oxford Student’s Dictionary of English, The Oxford Wordpower Dictionary For Learners of English (OUP) Chit Chat 1 Paul Shipton (OUP) page 36 Intercultural Activities Simon Gill & Michaela Cakov, (OUP) page 37 Intercultural .

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