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DISOVERY OF THE READER IN THE LITERARY WORK
(ENTDECKUNG DES LESERS IM LITERARISCHEN WERK)
BY
ERNEST GIORDANI
INTRODUCTION: INTERPRETATION AND THE LITERARY TEXT IN
THE GERMAN FOREIGN LANGUAGE COMMUNICATIVE CLASSROOM
The title of this project, The Discovery of the Reader in the
Literary Work (Die Entdeckung des Lesers imliterarischen Werk),focuses on Bernd Kast's assertion in his Literatur im Unterricht.
Metodische Vorschläge für den Lehrer,that a group of fairly recent
developments has led to a decidedly new orientation in literary
scholarship. He points out that this new direction is due in part
to the impact of Jean-Paul Sartre¶streatise,What is Literature?
(1949) in which he first addresses three seemingly less formidable
questions: "What is Writing?" "Why Write?" and "For Whom Does One
Write?" In so doing, he casts a different light on meaningand
interpretation,for he introduces the perspective of social
engagement. Kast, in addition, refers to Robert Escarpit, who in
his publication, Das Buchund der Leser , offerssociological views
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of the nature of literatureand the reader. Using the metaphors ofbusiness and technology, he employs the neutral methodology of his
discipline to acquire and study data, as well as raise at times
unasked questions that suggest answers about literature as a
commodity. Kast also directs attention to Hans-Georg Gadamer's
hermeneutical concerns expressed in Wahrheit und Methode,as they
touch on understanding and interpreting art and literature: "Schrift
und was an ihr teil hat, die Literatur , ist die ins Fremdesteentäußerte Verständlichkeit desGeistes"(156). In addition, Kast
alludes to Roland Barthes' assessment of the relationship between
society, the reader and the literary work.
Bernd Kast and Paradigm shift in Foreign LanguageInstruction
Gadamer's assertions about the use of literary textsare
implicit in Bernd Kast's Literature in Instruction.Methodological- didactic Suggestions for the Instructor . (Literatur im Unterricht.Methodischdidaktische Vorschläge fürden Lehrer). He points out that
in recentyears,numerous publications have appeared which,falling
back upon olderpedagogical concepts, call for a student oriented,
studentcentered "einenschülerorientierten, schülerzentierten³
(Instruction Kast 38)instruction.Such an instruction would free
students from their consumerrole and allow them to make suggestions´
on their own (38). Then Kastschematizes the ensuing contrasts: (38)
Discovery of the Reader²²
Methodological research ± Paradigm shift
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Old paradigm New paradigm
Literary canon open textual offerings
(only ³high´ literature) also trivial literature) ²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²² Student as object liter- Literature is object
ary education = of students =Literature centered reader centered
Lesson is more important Learning is more importantthan the learning. than the lesson.
Intention- and Author- Methodological perspective ²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²
²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²² Text is static, closed Text is dynamic, openIndependent processable
²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²
Meaning is fixed Meaning is established by the(Monovalence) reader (Polyvalance)
²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²
Extra temporal Temporally
²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²
Entdeckung des Lesers -Rezeptionsforschung - Paradigmawechsel
______________________________________________________________altes Paradigma neues Paradigma________________________________________________________________Literaturkanon offenes Textangebot
(nur "hohe" Literatur) (auch Trivialliteratur)_________________________________________________________________Erziehung durch Dichtung Erfahrungen mit und durchDichtung_____________________________________________________________________Schüler als Objekt lite- Literatur ist Objectrarischer Bildung =desSchlülers=literatur zentriert= leserzentriert
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__________________________________________________________________Intention- und Author- Rezeptionperspectiveperspektive
Text ist statisch abge- Text ist dynamisch,schlossen, autonom offen, prozesshaft
Sinn liegt fest Sinn wird vom Leser fest-(Monovalenz) gelegten(Polyvalenz)
Überzeitlichkeit Zeitgebunden
__________________________________________________________________Assessing the outcomes the student-oriented, discovery pedagogy,
Kast asserts that acquired knowledge is better retained and reproduced
through Self-discovery(Selbstentdeckung)than when conveyed by a teacher
orinstruction (37). Through a series of new empirical inquiries
this older understanding is viewed in another light (J. S. Bruner
1973,304). Students recognizetheir strategies of problem solving, which
for them may be anindependent answer to new problems which may surface
("discovery learning") (37).
CHAPTER I: FROM NIETZSCHE TO ESCARPIT: PERSPECTIVE AND MEANING
Initially, however, this project looks at comments on perspective by
Friedrich Nietzsche which are not only at the heart of literary inter-
pretation but are important to literary interpretation by students in
foreign language classrooms where literature is used to facilitate
language acquisition. Within the reader-centered,Rezeptionsperspektive
dynamic schema that Kast presents, one easily hears tones of Friedrich
Nietzsche's comments on perspective, forNietzsche says, that "Der Perspektivismus ist nur eine komplexe Form der Spezifität" (705). He
explains further that his notion is that each specific body strives to
master its own space, expand its power (²²its will to power:) and repel
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everything that resists its expansion. However it impacts continuously
on similar efforts of otherbodies and arranges a (>>coalition<<) with
them which is congenialenough to it²²thus they then conspire together
toward power. And the process continues . . . . (705) Furthermore,
Nietzsche remarks that perspective presents a quality of plausibility.
As if the worldremained when one subtracted perspective! As if one had
thereupon indeed subtracted relativity. (705). One might say then, as
regards the use of literary texts forlanguage acquisition, that a
student's particular, plausible interpretation of a literary text is a
"complexe Form der Specifität" which the student through negotiation,
conspiring, and coalition with other interpreting bodies (students),
employs to expand his or her own interpretive prestige (will to power).
Similarly, Wolfgang Iser's texts,Der Akt des Lesens (The Act of
Reading) and Implizite Leser (The Implicit Reader), focus on readers'
perspective and the meaning they derive through textual interpretation.
He asserts that literary "Schemata" are a part of the elements of the text
and are implicit in the established competence of readers. Their frames
of reference lie in systems of perception as well as in literary tradition,
which does not really have the character of logical reference, but still
offers a stability of meaning. (Reading 154)(Lesens154) That is, thereaderswork with an unformulated but intended text that presents them
withAnweisungen und Suggestionen(Imp.Leser 59). In the text it is the
Nicht-Gesagte and the Gemeinte which engage the Einbildungskraft ofthe reader (Lesens 59). Iser points out, that, in contrast, the
aesthetic issue of the text has neither the quality of the element
the ("Schemata") nor its stability, let alone a comparable system of
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reference. Therefore the aesthetic issue in contrast to "Schema" (sic)
cannot be lifted from the text and formulated separate from it
(Lesens 154,5). Furthermore, Iser emphasizes that ultimately it is the
readers that attribute meaning to the text, for while the organization
of the primary code in a fictional text denotes certain comprehension
requisites, their manifestation in the secondary code is never identical
because the primary code prescribes in no sense definite readings of
the text, since it is only a model of the comprehensionalact which
contains more possible manifestations (Lesens 156).
Gadamer : Literature and Hermeneutics. Considering the unique and
incomparable qualities of literature, Gadamer remarks in Wahrheit und
Methode, Literature presents the transformation of understanding a
specific task. There is nothing as peculiar and taxing to understanding,
as the written word. The encounter with people offoreign tongues
cannot at all be compared to this peculiarity and amazement, because speech
already contains the air and the tone of direct intelligibility. (156)
Then inWas ist Literatur?Beiträge von Han-George Gadmer ,
Helmut Kuhn und Gerhard Funke,Gadamer goes on to comment on the
controversy regarding the process of discovering literary textual
meaning as he remarks that the concept of the text is itself a
hermeneutic. We appeal to the text when we cannot follow a given
translation. On the contrary, we never stop with the mere letters,
when we "understand": the opposite of spirit and letter rises up inunderstanding. In so far thatinthe widest senses, the literary art
work is a text upon a text, it appears to him a text in the eminent
sense and the translation is not only capable but wanted (31).
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As accurate as Kast may be about "zahlreiche Veröffentlichungen"
appearing "in den letzten Jahren" which fall back upon olderpedagogical
concepts with regard to current literary instruction,perhaps he also
alludes to the latter half of the nineteenth century and Friedrich
Nietzsche's Perspektivenoptikso crucial to formation of meaning within
social macro- and textual microcosms. Gadamer's following words from
Wahrheit und Methodeseem to suggest so, for in is chapter on "Wahrheit
in den Geisteswissenschaften," Gadamer mentionsNietzsche and his
contribution to modification of Horizont,in thatwhoever has no horizon
is a person who does not see far enough and therefore overvalues what lies
nearby. Horizon is justthe opposite: Not limited to the next, but beyond
it able to see intothe distance (Gadamer 286).In fact, today Nietzsche's,
Gadamer's and Iser's ideas areimplicit in the following observation with
which Hans von Hunfeld begins his Literatur als Sprachlehre: Ansätze eines
hermeneutischorientierten Fremdsprachenunterrichts: "Nirgendwo tritt im
Fremdsprachenunterricht die Differenz zwischen reinem Sprachlehrtext
und literarischem Text deutlicher hervor als in der Situation des
Anfangsunterrichts" (18). For instance, Hunfeld asserts: "Denn wird
der Lehrbuchsatz durch Wiederholung und Anwendung in der
Unterrichtssituation zum persönlichen Satz des Lerners, so bleibt die
Zeile eines Gedichts, und sei sie noch so oft wiederholt, immer Zitat"
(18). The poem remains "Zitat" because the pedagogy of the Lehrbuch
ascribes meaning to the poem, but for the poem to acquire meaning, it
must become a literary text open to readers' interpretations.
In sum, from Nietzsche through Gadamer to Iser, Kast and Hans
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Hunfeld, the world, the person, and the literary text all reside in
the realm of hermeneutics, i. e. , meaningless potentialities open to
interpretation. Obviously, the perspectives of Gadamer, Kast, Huhnfeld
et al offer the foreign language student greater challenge than the
usual prescription of discrete point questions and drills or global
questions so often an integral part of foreign language instruction of
the not too distant past.Saussure and Language as Sign. If one can speak of the world as well
as the literary text as interpretation, one can certainly speak of
various perspectives to which the word itself, the very seed and
fiber of the literary text, is subjected. Ferdinand de Saussure, the
founder of modern linguistics, differentiated between two important
perspectives of linguistics: "linguistique synchronique" and
"linguistique diachronique": "L'objet de la linguistique synchronique
générale est d'établir les principes fondamentaux de tout système
idiosynchronique, les facteurs constitutifs de tout état de langue
(Saussure 141). However, whereas "la linguistique synchronique"
focuses on the study of language within a particular time period, "la
linquistique diachronique" concerns itself more with language from an
evolutionary perspective, as Saussure suggests:
D'une façon générale, il est beaucoup plus difficile de
faire de la linguistique statique que de l'histoire. Les
faits d'évolution sont plus concrets, ils parlent davantage
á l'magination ; les rapports qu'on y observe se nouent
entre termes successifs qu'on saisit peine ; il est aisé,
souvent même amusant, de suivre une serie de
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transformations. Mais la linquistique qui se meut dans des
valeurs et des rapport coexistants présente de bien plus
grandes difficultés. (Cours 141,2)Within the realm of la linquistique syncronique one discovers two
other perspectives: langue, "l'ensemble des habitudes des
linguistiques qui permettent à un suject de comprendre et de se faire
comprendre" (Cours 112), and parole, which is "individuelles et
momentèes"(38). Possessing an understanding of the role of langue and parole, as well as of synchronic and diachronic language study, plays
a part in ascertaining meaning of a literary text, for the mercuric
nature of the word becomes evident, especially so in view of
Saussure's principle of language as "un système de signes distincts
correspondant à des idées distinctes" (26).
Continuing, Saussure points to the crucial role the sign plays
in language, since language emerges in his analysis as an arbitrary
system of signs:
Le principe de l'arbitraire du signe n'est conteste par
personne ; mais il est souvent plus aisé de découvrir une
vérité que de lui assigner la place qui lui revient. Le
principe énoncé plus haut domine toute la linguistique de la
langue; ses conséquences sont innombrables. Il est vrai
qu'elles n'apparaissent pas toutes du premier coup avec une
égale évidence ; c'est aprés bien des détours qu'on les
découver, et avec elles l'importance primordiale du principe. (Cours 100)
Terry Eagleton's claims inhis Literary Theory: An Introduction, that
the "hallmark of the 'linguistic revolution' of the twentieth century,
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from Saussure and Wittgenstein to contemporary literary theory, is the
recognition that meaning is not simply something 'expressed or reflected'
in language: it is actually produced byit" (60). However, Robert Magliola
argues in his study on Derrida, Derrida on the Mend , that Derrida views
"linguistic schools of the Saussurean kind and some philosophies of the
'correspondence theory'" (6), as "cryptic displacements of the classic
principle of personal self-identity" (6). Derrida "assaults the principle
ofidentity, that is, the theory of signified and signifier, as it
functions in explanations of language and of how language composes the
identity of things" (6). Or as Eagleton asks from the post-structuralism
perspective, "How can there be any determinate truth or meaning at all
?´(143) It seems, then, from this perspective too, meaning in the literary
text is established through the readers.
Sartre, Literature, the Literature Text. Sartre, as reader, is
discovered in the work of literature from two important views which
demonstrate how a reader assigns meaning to the text.On the one hand,
as philosopher/reader, Sartre stands back from the text, attempting to
define it phenomenologically. On the other hand, Sartre, the political
activist, views literature and the writer as agents of social change. Thus
he approaches the literary text withpredispositions and expectations.
For Instance, in posing and answering the same larger question,
"What Is Literature?" addressed by Gadamer, Sartre suggests that the
poet does not know how to use the word in Saussure's sense "as a sign of
an aspect of the world, he sees in the word the image of one of these aspects
. . . all language is for him the mirror of the world" (14). Sartre's
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perspective does not separate the dance from the dancer: "prose is in
essence, utilitarian. . . . . the prose writer . . . a man who makes use
of words" (19). "In short, actual literature can only realize its full
essence in a classless society" (156) "without dictators, without
stability, [which] would produce a literature which would end by becoming
conscious of itself" (160).Truly an activist's stance imbued with the
Marxian perspective of social engagement but one that limits the text's
potential meaning
Barthes and Amodal Writing . In his Writing Degree Zero Roland
Barthes presents a radical perspective from which to view literature
and simultaneously another way to discover meaning within the literary
text. Unlike Sartre, who views prose literature in its semiotic
profusion, as that particular language most effective to communicate,
Barthes finds limitations. He points out that language "is a social
object by definition, . . ."the divided property of all men," and "a
reflex response involving no choice" (9). It is "distant human horizon"
(10) hovering between past unspoken languages and ones yet to be spoken.
It was in the past or is on its way toward us in the future, or we toward
it. However, Sartre, in alluding to the quality of sign implicit in prose
language, comments how a writer may say something: "One is not a writer
for having chosen to say certain things, but for having chosen to say them
in a certain way. And, to be sure, the style makes the value of the prose.
But it should pass unnoticed. Since words are transparent and since thegaze looks through them, it would be absurd to slip in among them some
panes of rough glass"(25). These are the words that alert Barthes to a
flaw inSartre's emphasis on the language at the expense of the style of
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language.
Choice of mode, however, does not lie exclusively with the writer,
for as Barthes maintains, "It is under the pressure of history and
tradition that the possible modes of writing for a given writer are
established . . ." (16). In effect, writing is a "compromise between
freedom and remembrance" (16), a compromise between "the unity of
classical writing, which remained uniform for centuries," and the writer's
freedom of choice, if only for a mere moment, which "reaches the deeper
layers of History, much more palpably than does any other cross-section
of literature" (17). Through time, contrasting modes of writing within
a school of writing break "when a new economic structure is joined on to
an older one, thereby bringing about decisive changes in mentality and
consciousness" (18). Barthes describes such breaks and resultant changes
of consciousness in Marxism and Modern Poetry. Marxists incorporated into
their language a "lexicon as specialized and as functional as a technical
vocabulary,even metaphors are here severely codified" (22). Writers
speak withone political voice and one set of lexical terms meant to
"maintain acohesion, appear as a language of knowing, and impose a
stability in its explanations" (23). Its language demonstrates the
"economy of a classicallanguage (Prose and Poetry) [which] is relational,
whichmeans that in it, words are abstracted as much as possible in the
interest of relationships. In it no word has a density by itself , it is
hardly a sign of a thing, but rather a means of conveying a connection"
(44).
Linguistically, Barthes refers to the "zero element" (76), as a third
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term between two terms of polar opposition, i. e., between subjunctive
and imperative moods the indicative interposes as "amodal" (76). Thus in
the prolonged "attempt towards disengaging literary language" (76),
Barthes suggests a "colourless writing, freed all bondage to apre-
ordained state of language"(76). Designating"colorless writing," a
"transparent form of speech, initiated by Camus's 'Outsider'" (77),
Barthes maintains that it "achieves a style of absence which is an ideal
absence of style"(77). Finally "writing is then reduced to a sort of
a negative mood in which the social and mythical characters of a language
are abolished in favour of a neutral or inert state of form" (77). The
advantage for modern writers"writing at the zero degree" (76) is that
"thought remains wholly responsible, without being a secondary commitment
of form to a History not its own" (77). With Barthes, as with Sartre,
Gadamer, and Nietzsche, the reader is again discovered as the interpreter
ofwriters' literary texts.
Escarpit and the Sociology of Literature. Robert Escarpit may well embody
the zero degree of literary criticism. In much the samemanner as Saussure
considers language an object to be analyzed from a linguistic, scientific
vantage point, or Sartre and Barthes view literature and its language as
objects, Escarpit views literature as a sociological fact related to human
general behavior. However, much of his inquiry seems to have extre-
literary concerns, i. e., Production, Distribution, Consumption, The Age
Factor in Literary Production.Escarpit is not concerned with meaning tobe found within the literary textual language among the myriad inter-
relationships of words as signs. He seeks a fuller understanding of
literature as fact by examining it as a commodity: "We cannot forget,if
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we wish tounderstand literature, that a book is a manufactured product,
commercially distributed and thus subject to laws of supply and demand.
We must see that literature is, among other things,incontestably, the
production segment of the book industry, as readingis its consumption
segment" (2). The Marxist tones are here, asEscarpit mentions Vladimir
Zhdanov and his "Some Recent Soviet Studies in Literature," Soviet
Literature: "Literature must be considered in its inseparable relation
to social life, the background of those historical and social factors which
influence the writer: . . ." (4). Escarpit asserts, however, the "principal
opposition to the Soviet sociological method . . . 'formalism'" and the
combined "influences of Wilhelm Dilthey's neo-Hegelian philosophy, of
philological criticism,and of Gestalt psychology Literaturwissenschaft"
(4,5) have been ". . . one of the most serious obstacles to the appearance
of a real sociology of literature" (5). Although the science of sociology
"through Comte, Spencer, Le Play, Durkheim and others progressed towards
complete autonomy . . . it bypassed literature . . . for literature
had been protected by an attitude of deference" (5). By focusing on
specific aspects of the literary "process," Escarpit attempts to bring
a sociology of literature into the light of modernliterary criticism.
In order to understand literary production more clearly from a
sociological perspective, Escarpit first examines the writer in time.
Production of the literary work, he affirms, ". . . a manifestation of
a community of writers" which shares in the rise andfall of life of "all
other demographic groupsaging, rejuvenation,overpopulation and
decreasing population" (21).
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CHAPTER II: SURVEY OF GERMAN FOREIGN LANGUAGE COMMUNICATIVE
PEDAGOGIES WHICH USE STUDENTS' PERSPECTIVES OF THE LITERARY TEXT IN
FOREIGN LANGUAGE ACQUISITION
With both Escarpit and Barthes, as with Sartre, Gadamer, and
Nietzsche, readers provide perspectives from which to interpret
writers' literary texts, be they texts for general consumption or
texts used for language acquisition in a foreign language classroom.
In addition, Brigitte Helming and Gustav Wackwitz in their Literatur im Deutschunterricht am Beispiel von narrativen Texten explain the
value of literary narrative texts to second language acquisition:
. . . wenn erzählt wird, hört man mit Interesse, oft mit Spannung zu.
Die Erwartung: 'Wie geht's weiter?' ist eine spontan gewährte Haltung
gegenüber dem Erzählten. Man will auch wissen, worauf es hinausläuft, man
möchte das Ende der Geschichte nicht versäumen" (14).
Furthermore, Littlewood says in his "Literary and informational
texts in teaching." Praxis 1, 1976 that literary texts differ from
external reality for they ". . . have a different relationship to
external reality" (19). The literary text gleans its "raw material" as
well as its "interpretability" from external reality (19), "but
after selecting elements from it, aim to combine these elements into a
new portion of reality which exists only within the text" (19). Thus
the reader enjoys the opportunity to use contextual knowledge (extra-
linquistic information) of the external reality to acquire language in
both the external reality and the literary text. In apparent agreement
with Helming and Wackwitz regarding student creativity in interpreting
the literary text used for foreign language, Littlewood explains that
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readers continually attempt "to form and retain a coherent picture of the
world of the text (19),as their ". . . creative (or rather, 'co-creative')
role, and the imaginative involvement engendered by this role encourage
a dynamicinteraction between reader, text and external worlds" (19).
What is more, Brumfit and Carter remark in Literature and
Language Teaching that the literary text is "authentic text" (15) and
"real language in context," to which readers "can respond directly"
. . . (15), offering as it does ". . . a context in which exploration
and discussion of content (which if appropriately selected can be an
important motivation for study) leads on naturally to examination of
language . . ." (15) and the language resources provided by the literary
text, which place ". . . the reader in an active interactional role in
working with and making sense of language(15).
Thus the reader, intimately in the text, simultaneously creates
meaning for the text-Die Entdeckung des Lesers im Literarischen Werk.
In the process of interpreting meaning, the foreign language student/
reader must communicate individually or within groups, and beyond Helming
and Wackwitz' Literatur im Deutschunterricht many other sources such as
Discourse Analysis and Second Language Teaching by Claire J. Kramsch,
Managing Conversations in German: Reden,mitreden und dazwischen by Clair
J. Kramsch and Ellen Crocker, Contexts of Competence by Margie Berns,
Literature in the LanguageClassroom by Joanne Collie and Stephen Slater,
MitlesenMitteilenby Larry D. Wells and articles in theUnter richtspraxis, Foreign Language Annals, Schatzkammer , Modern Language
Journal, Quarterly , and Applied Linquistics provide a rich variety of
useful pedagogies to assist instructors in using literature for second
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language acquisition of German at various levels of instruction. For
instance, students in a beginning German course are notprepared lin-
guistically to read a novel, a novella, most short stories and many poems
in the target language. However, like Brumfit and Carter above, Collie
and Slater remark in their Literature in the Language Classroom: A resource
book of ideas and activities that appropriately selected extracts from
literature "provide one type of solution. The advantages are obvious:
reading a series of passages from different works+* produces variety in
the classroom, so that the teacher has a greater chance of avoiding
monotony, while still giving learners a taste of an author's special
flavor" (11). A text whichlends itself to both this pedagogy of
appropriate extraction of literary passages as well as Helmling and
Wackwitz' views on the value of narrative texts for language acquisition
is HörGutZu!: A Beginning German Audio-Lingual Reader by Gerard F.
Schmidt.
Schmidt's Hör Gut Zu!, first published in 1964 before pedagogies
of the communicative competence movement had made significant impact
in the United States, focuses on audio-lingual methods which have
marginal value in the communicative foreign language classroom.
However, the stories themselves were garnered under the author's
cardinal rule that "they must hold the students' attention" (iii). In
that respect, many of the stories readily comply with Helmling and
Wackwitz'explanation that narrative texts are used in foreign language
instruction because "sie in des Lesers Vorstellung Erfinden zulassen
und anregen" (15) and indeed because the "Kreativität des Lesers ist
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natural discourse, to role play, and to explore other communicative
strategies identified in the course of this discussion. Furthermore,
the vocabulary and the social context of selected passages from Die
Wette as well as from Thomas Mann's Tonio Kröger provide appropriate
avenues for communicative discourse.
Attempting to discuss literature communicatively raises issues
about providing student readers with techniques to manage discourse
successfully. A valuable study by Claire J. Kramsch, Discourse
Analysis and Second Language Teaching, presents pertinent insights
and strategies.
First she asks the question: "How are foreign language learners
in the classroom given the opportunity to phrase (i.e., organize)
their learning experience in terms of discourse management" (13)?
Kramsch provides answers by explaining that students speaking in a
classroom environment perform on three different structural levels:
(1) the formal structure, composed of a set of message-
bearing elements (verbal, paralinguistic, nonverbal) and
its grammatical and syntactical units of realization;
(2) the illocutionary structure, composed of illocutionary
forces or acts (inviting agreeing, etc.);
3) the interactivestructure, composed of interactional
tactics, and classified according to their relative
distribution and privileges of occurrence. The first two
levels constitute the communicative level of the
interaction. The third is the discursive. (13)
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In the section, Teaching Communicative Strategies in the Class-
room, from their ManagingConverationsin German:Reden mitreden
dazwischen, Kamsch and Crocker remark that teaching communicative
strategies is teaching language as discourse, i.e., language as
it is used in social contexts between speakers, hearers and
bystanders. In the social context of the classroom, the teacher
presents and transmits knowledge about the foreign language, thestudents
display that knowledge for the evaluation by the teacher, and they use
it for communication with the teacher and their peers (v).
The authors comment briefly on the three forms of discourse used
in language classes. Instructional discourse is usually teacher-centered
and manages of the lesson using such "utterances as 'Please open your
book'/'Repeat after me'/'We are having a test µtomorrow'/'Don't speak all
at once . . .'" In this form of discourse students merely react to cues
from the teacher and rarely initiate turnsat talk, or raise topics,
generally just "reacting to questions and displaying information" (v).
In Convivial discourse teacher and student work together as equal partners
in managing the lesson. In his more student-centered form of discourse,
instructional tasks arenegotiated betewen teacher and students, i. e.,
"What did you mean?"/"How do you say . . ."/"I couldn't hear, what is it
you just said"/"Excuse me, it seems to me that . . ." Using Natural or
simulated/discourse teacher and student interact as they would outside
the classroom. Examples of natural discourse "are the exchanges betweenteacher and students at beginning of the lesson: 'I am sorry I am late,
but I had to go to the dentist'; 'Do you know what? They havejust raised
tuition again!'"; Examples of simulated natural discourseare personal
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or service encounters, i. e.,"Could you show me the way to . . ."
"Certainly"/"What did you do this summer?""Well . . . him . . .
let's see"/"I would like a pound of potatoes""Anything else?" (v)
) Kramsch's term, natural discourse, of course, calls to mind
Krashen and Terrell's concept of the natural approach from their book
The Natural Approach. The methodologies associated with these two
approaches to language acquisition are similar in that both the
grammatical structures with which the Natural Approach concerns
itself, and the socially appropriate discourse with which Natural
Discourse concerns itself, are acquired, not learned in Krashen's
sense of the word. Furthermore Kramsch points out that unlike native
speakers who have acquired appropriate social linguistic skills, i.e.,
"when to use which form to express which meaning with whom for which
purpose in which circumstance" (Reden iv), foreign language students
must gain competency in discourse to communicate effectively.
Classroom foreign language students do not know the "appropriately
polite phrasing in the foreign language, and may not use that phrase
with the right intonation, the right rhythm, and the right timing"(v).
Kramsch's table of contents details strategies which assist foreign
language students with the ability to control the conversation: Gespräche
beginnen und beenden; Um Auskunft bitten und Auskunft geben;Gemeinsam
planen und organisieren;Gefühle ausdrücken und darauf reagieren;
Geschichten erzählen,Geschichten hören;Ratholen und Rat geben;
Verlangen und sich beschweren;Meinungen äussern, auf Meinungen
reagieren;Themen einführen, Gespräche steueren;Dafürund dagegen
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argumentieren.
Several of the above categories and associated strategies will be
helpful in exemplifying the dynamics of this project. Similarly,
Margie S. Berns mentions in Chapter One of her 1984 edition of
Initiatives in Communicative Language Teaching :
It is the social context that determines which behavior
options, both verbal and nonverbal, are available to the speaker
for example, whether it is even appropriate in a given situation forthe speaker to choose physical threat. It is the features of Firth's [J.
R. Firth, founder of the British school which viewed language as "a way
of behaving or making others behave"] context of situation that would
guide in the selection of options in the particular situation. These
features include those on the level of meaning associated with the context
of culture. (8)Co-writer Sandra J. Savignon's interpretation of
communicative competence, "expression, interpretation, and negotiation
of meaning involving interpretation between two persons, or between one
person and an oral or written text" also reflects Berns' comments (9).
"Oral or written text," however, derives from Michael Halliday's
work in systemic linguistics and function, i.e., ideational and
interpersonal functions of language, which require a third function,
textual. The third function "serves this purpose of language by providing
means for the formation of coherent texts. Any linquistic unit is the
simultaneous realization of these three functions" (7).
More specifically, these three functions are used:
(1) to express 'content,' to give structure to experience and helpto
(2) determine the speaker's way of looking at things (ideational);to establish and maintain social relations, to delimit social
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groups, to identify and reinforce the individual(interpersonal); and
to providefor making links with itself and features of thetuation
in which it is used, to enable the speaker (or writer) to construct passages
of discourse that are situationally relevant (textual). (7)
Berns goes on to present important criteria based upon assumptions
of systemic linguistics which can be used in the evaluation of
exercises which adequately represent a functional and/or communicative
approach:
1. Utterances are presented with sufficient context for theinterpretation of meaning.
2. The relevant contextual features are identifiable -
that is, persons, objects, verbal and nonverbal
behavior, and effect.
3. The insight gained into an instance of language use is
generalizablethat is, the learner can make
predictions/interpretations of meaning in similar
situation types.
4. All three macro-functions are taken into accountthat
is, the ideational (conceptual), interpersonal (behavioral) and
xtual (formal).
5. Texts are authenticthat is, if not taken from of actual use of
glish.
6. Options are provided for the expression and interpretations of
aning.
7. More than formulaic functions of language are illustrated.
The interdependency of formal and functional meaning in context
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is explicit as opposed to simple equivalency of form and function.
(12,13)
The following example demonstrates an inadequate application of
the "functional and/or communicative approach . . . based on
assumptions of systemic linguistics:" (13)ACCEPTING ________________________________________________________
1 Kenji: Do you think you'll be able to?
2 Fransesca: Yes, It sounds fine.
3 Kenji: That's great.
4 Francesca: Thanks for asking me.
5 Kenji: Your're welcome. I'm glad you can make it.
6 Francesca: So am I.
7 Kenji: Okay. We'll see you then.
8 Francesca: Right. I'm looking forward to it.
CONTENT ANALYSIS
Francesca might be accepting: What else?
a dinner invitation a skiing invitation___
a babysitting job ______________________
a substitute-teaching job ______________________
a tennis date ______________________
a ride in a car pool ______________________
Some of Berns criticisms, comments, and questions concerning the
exercise are:Little is revealed about Kenji and Francesca other than their names.
Are they peers? What are their ages? Since Francesca is female, role
Reversalmight reveal if "accepting" forms are the same for males. What
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is Francescaaccepting? What is the cultural context? How can the
students generalize and predict regarding communicativelanguage usage?
(13,14)
On the other hand, the following exercise "provides a richerview
of language. Part iii, for example, allows for the openness and
unpredictability involved in actual speaking. The notion of someone's
refusing to honor a request is entertained and the learner is called upon
to formulate appropriate responses" (15).
i) Who says these things? In what situations?
a) It would help if you could hold the Hold . . .
torch for me a second and I¶llseeI'll see if I can find it.
b) I wonder if you could move your Could you
head a little. I can"t see.
c) I want you to run round and tell Run . . . ?
John to come back home immediately.
d) As it's raining, I thought You couldn't . . . ?
you might collect him by car.
e) What is the time? Mine's stopped. Could you . . . ?
f) I like it better over there. Do me a Move . . .
favour and move it for me, dear.
g) I wonder if you could change it. I You couldn't . . .
like to have a clean table cloth.
h) Let me borrow yours, George. I've Could I . . . .?
only got a pencil.
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ii) Make a new sentence using the words on the right.
iii) How do you think the other person replies? They don't say
yes all the time. Maybe they can't help. (16)
Berns points out here that even though the communicative nature
of the exercise has improved, students are not easily able to generalize
because the language is clearly British; but is the language upper or
middle class? The language is polite, yet the students are asked to use
less formal forms in their answers. In addition, the context of situation
is not clear, i. e., are the new sentences in (i) requests or commands?
That is, the interdependency of form and function is not explicit. (16)
In her Contexts of Competence Berns states that "communicative
language teaching is founded on an understanding of the nature of
communication and the variability of norm of communication from context
to context (103). She then presents eight characteristics which assist
in the production or modification of materials to assist in achieving
communicative competence objectives:
1. Language teaching is based on a view of language as
communication, that is, language as seen as a social tool
which speakers use to make meaning; speakers communicate
about something to someone for some purpose, either
orally or in writing.
2. Diversity is recognized and accepted as part of language
development and use in second language learners and users
as it is with first language users.
3. A learner's competence is considered in relative, not
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absolute, terms of correctness.
4. More than one variety of a language is recognized as a
viable model for learning and teaching.
5. Culture is recognized as playing an instrumental role in
shaping speakers' communicative competence, both in their
first and subsequent languages.
6. No single methodology or fixed set of techniques is
prescribed.
7. Language use is recognized as serving the ideational, the
interpersonal, and the textual functions and is related
to the development of learners' competence in each.
8. It is essential that learners be engaged in doing things
with language, that is, that they use language for a
variety of purposes in all phases of learning. (104)
In Chapter Two, Interactive discourse in small and large groups,
of Wilga M. Rivers' Interactive Language Teaching , Claire J. Kramsch
contributes important observations about the dynamics of interactive
discourse in the foreign-language classroom. For instance, Kramsch
introduces the concept of "instructional options: ". . . interaction
among group members in a classroom moves between the two poles of a
continuum of what Stern calls 'instructional options'in Fundamental
Concepts of Language Teaching . These concern the roles of participants,
the tasks they accomplish, and the type of knowledge that is exchanged.(18)
Kramsch constructs an INTERACTION CONTINUUM table:___________________________________________________________________
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Instructional "Convivial" Natural
discourse discourse discourse_____________________________________________________________________
Roles: Fixed statuses Negotiated rolesTasks: Teacher-oriented Group-oriented
Position-centered Person-centered
Types of Focus on content, Focus on process,
knowledge: accuracy of facts fluency of interaction
Rivers explains the Continuum in the followilng manner:
At the one end are the fixed, instructional statuses (Circourel) of teacher
and student, with their expected and predictable behavior patterns,
acquired through years of schooling. At the other end are a variety
of roles and tasks negotiated by speakers and hears brought together by
the common foreign language and engaged in natural conversation (17, 18).
Referring to Sandra Savignon's interactional approach to languageacquisition, Berns explains that Savignon's understanding of
communicative competence is bound in four important sociolinguistic
parameters:
(1) the dynamic, interpersonal nature of communicative
competence and its dependence on the negotiation of
meaning between two or more persons who share to some
degree the same symbolic system;
(2) its application to both spoken and written language as
well as to many other symbolic systems;
(3) the role of context in determining a specific
communicative competence, the infinite variety of
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situations, in which communication takes place, and the
dependence of success in a particular role of one's
understanding of the context and on prior experience of
a similar kind;
(4) communicative competence as a relative, not absolute
concept, one dependent upon the cooperation of all
participants, a situation which makes it reasonable to
speak of degrees of communicative competence. (Berns 89)
Berns then presents Savignon's model of communicative competence
based upon Canale and Swain in their 1980 article, "Theoretical bases
of communicative approaches to second langauge teaching and testing:"
1. Grammatical competence. Knowledge of the sentence
structure of a language.
2. Sociolinguistic competence. Ability to use language
appropriate to a given context, taking into account the
roles of the participants, the setting, and the purpose
of the interaction.
3. Discourse competence. Ability to recognize different
patterns of discourse, to connect sentences or utterances
to an overall theme or topic; the ability to infer the
meaning of large units of spoken or written texts.
4. Strategic competence. Ability to compensate for imperfect
knowledge of linguistic, sociolinguistic, and discourserules of limiting factors in their application such as
fatique, distraction, or inattention.
Savignon explains in her 1983 Communicative competence: Theory
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and classroom practice that the four competencies do not interact
hierarchically. They are all equal and independent: ". . . a learner
does not proceed from one to another 'as one strings pearls on a
necklace'" (45). Furthermore, in her 1991 article, "Communicative
Language Teaching: State of the Art," appearing in volume two of four
special issues of TESOL Quarterly celebrating its 25th anniversary, she
briefly examines the origins of what now is known as communicative language
teaching (CLT), discusses the then current issues and promising avenues
of inquiry, and the international perspective (CLT). Savignon concludes
that by building upon what is alreadyrecognized about "language use as
social behavior, purposeful, and always in context," those engaged in
(CLT) "offer a view of the language leaner as a partner in learning" as
they "encourage learner participation in communicative events and
self-assessment of progress . . . , including communicative risks and focus
on development of learning strategies" (273).
David Nunan reviews how the pedagogy of the communicative task
through task based language teaching (TBLT) has become "an important
component within cirriculum planning, implementation, and evaluation"
over the past twenty-five years in his article,"Communicative Tasks
and the Language Circulum"(279). In the same 1991, 25th anniversary
issue of TESOL Quarterly , Nunan highlights five significant features
of (TBLT):
1. An empasis on learning to communicate through interaction
in the target language.
2. The introduction of authentic texts into the learning
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situation.
3. The provision of opportunities for learners to focus, not
only on language, but also on the learning processitself.
4. An enhancement of the learner's own personal experience as
important contributing elements to classroom learning.
5. An attempt to link classroom language learning with
language activation outside the classroom.
Proceeding, Nunan presents Conceptual, Circular, and Empirical bases
of the approach, providing examples of appropriate tasks. Moreover, he
suggests the "conceptual and empirical basis needs to be extended both
substantively and methodologically" (293).
Using literature to encourage communicative competence provides
students the opportunity to interpret the written word through personal
and group, verbal and written discourse. In so doing,students integrate,
draw upon, and improve grammatical, sociolinguistic discourse and
strategic competences. For example, in his article, "Lesen als 'Gelenktes
Schaffen,'" Lothar Bredella asserts in reading,
" . . . gehen wir über das Gesagte auch insofern hinaus, als wir
Erwartungen aufbauen und das Kommende immer schon im Lichte unserer
Erwartungen aufnehmen, sei es, daß diese bestätigt, sei es, daß sie
korrigiert werden" (176). He goes on to alert us, that as "engagierte"
readers with anticipations derived from the literary text, we can only
experience "Ü berraschungen und Irritationen" (1
7
6), for in Sartre'seyes the text itself is quite predictable to the reader, that is, in
reading one sees in advance, anticipates. One sees the end of the
sentence in advance, the following sentence, the next page; one
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anticipates that these expectations are confirmed or refuted; reading
is composed of many hypotheses, of dreams, which are followed by an
awakening; of hopes and disappointments; the readers are just beyond
the sentence which they are reading, in an apparent future, which
becomes partially realized-to such an extent, as the readers progress,
they turn from one page to another and form the shifting Horizon of the
literary object. Without expectations, without future, without
uncertainty there is no objectivity (176).Thus, viewing readers'
Erwartungen as the catalysts that engendermeaning within the literary
text, Bredella provides a rationale for an exercise, as he explains that
when students read outside of school and university or view a film, they
will not allow the event to slide by, but construct expectations, and with
these expectations emotions build up. In this manner one goes along and
engages oneself. Bredella goes on to say that we must see to it that the
students become excited that within the structure of the literary text
there be attractive anticipations to consider (176).
In part Lousie M. Rosenblatt's distinction between "efferent" and
"aesthetic" readings provides the basis for Bredella's rationale.
"Efferent" reading Bredella explains as ". . . das auf
Informationsentnahme ausgerichtete Lesen, das in unserer Gesellschaft
vorherrscht" (166). He goes on to explain that in this kind of reading
the reader suppresses how he as reader participates in the reading
process and how he experiences as reader. This reading is necessary in
many of life's practical contexts, but neither the only nor the original
form (166).
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dahingehend, daß der Arbeiter in der Fabrik die
Erfühlung findet. . . .
3. Eine weitere Deutung lehnt die zuletzt angeführte als zu
optimistisch ab und betont, daß erst der Kranke in der
Lage ist, die Bretterwand, die seine private Welt von der
Fabrik trennt, niederzureißen. (179)
Essentially, the short interpretations demonstrate how the readers
comprehend the text and that they find individual perspectives which
give meaning to events within the text.
Bredella now introduces another communicative pedagogy that
involves reader and text:
Eine weitere Möglichkeit, die Interaktion zwischen Text und
Leser zu verstärken, kann darin bestehen, daß man Worte,
Zeichen oder Abschnitte in einem Text streicht und den
Studenten die Aufgabe stellt, diese "Leerstellen" zu füllen.
Anschließend können die Studenten ihre verschiedenen
Versionen mit denen des Originals vergleichen und die
unterschiedlichen Sichtweisen herausarbeiten. (180)Wolfdietrich Schnurre:
Lied Lied
Es ist wenig. Es ist wenig,
was ich verlange zu wissen; was ich verlange zu wissen;
weniger als weniger als
die Obrigkeit will. die Obrigkeit will.
Ich begehre zu wissen, Ich begehre zu wissen,
. . . . wo es Blaubeeren gibt
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und nicht: . . . . und nicht: gibt es Krieg.
Ich begehre zu wissen, Ich begehre zu wissen
. . . . wann Regen fällt
und nicht: und nicht: in wieviel
. . . . Teile zerfällt ein Gewehr.
Es is wenig Es ist wenig,
was ich im Ernstfall begehre; was ich im Ernstfall begehre
weniger als weniger als
die Obrigkeit will. die Obrigkeit will.
Wenn der Feind kommt, Wenn der Feind kommt,
. . . . nehm ich mein
Schmetterlingsnetz
. . . . und zerschlags.
Aber ich kann auch Aber ich kann auch
. . . . das Lied singen, und alle
. . . . Panzer der Welt
. . . . fahren über mich weg;
. . . . und ich richte mich auf
. . . . in den Spuren ihrer35
Verwüstung:
. . . . eine Ammer, ein Halm.
Es ist wenig, Es ist wenig,
was ich vom Leben verlange: was ich vom Leben verlange;doch . . . . doch mehr,
. . . . als die Obrigkeit will.
Bredella points out that experience has shown that many students
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find this presentation irritating in that the Authority demands less
knowledge from them than they as a rule possess. It is also irritating
in that the lyrical Ich desires to know only a little information. A
number of students nevertheless surmise that "wenig . . . vielleicht
garnichtso wenigist" (180) Thus in the thirteen Leerstellen
students provide such answers:
(1) ob es Krieg gibt und nicht: ob die Gewinne
der Unternehmer steigen.
(2) was mich glücklich macht und nicht: was mich
unglücklich macht.
The process continues as different perspectives emerge. Bredella
comments upon the students' responses: "Die vorgebene Struktur
verlangt einen Gegensatz zwischen dem Ich und der Obrigkeit, der auf
verschiedne Weise konkretisiert werden kann" (181). But as regards
literary text and the reader, Bredella affirms:
Die Kreativität des Lesers und die Anerkennung der
besonderen Gestalt des literarischen Textes sind keine
Gegensätze, wie manchmal behauptet wird. Im Gegenteil: beide
Aspekte bedingen sich gegenseitig. Nur wer genau hinsieht,
fühlt sich heraus gefordert und wird darauf kreativ
antworten(183).
Clearly, one discovers the reader in the text in Bredella's
communicative pedagogy as students interact with the text and then
interact with each other verbally or in writing. Sound communicative
methods in using literature for foreign language instruction are also
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apparent in reviewing Rosmarie T. Morewedge's following publication.
In her 1987 Unterrichts Praxis article, "Literature in the
Intermediate German Classroom: Wolfgang Hildesheimer's 'Eine größere
Anschaffung,'" Morewedge states teachers of German can use literary
texts "to build communicative competence through well-designed and
properly distributed acquisition exercises" (217). In her exercise
Morewedge, too, uses Krashen's Input Hypothesis (217,18), in addition
to Littlewood's theory on language acquisition (217), and Rosenblatt's
notion of efferent or das auf Informationsentnahme ausgerichteteLesen
competence through reading the text and "properly distributed acquisition
exercises"(217). Of course aesthetic reading is implied as an aspect of
"the meaningful narrative Gestalt, i. e., the rhetorical structure and
ideas informing the narrative as a whole, rather thanmerely parts" (218).
On the First Level: Preview of her six-tiered schema designed "to
provide instructors of second-year college and/or third- or fourth-
year high school German with research-based, practical and imaginative
procedures for presenting a high-caliber short story,´Eine größere
Anschaffung´ by Wolfgang Hildesheimer" (217), Morewedge first asks
students to scan a story rapidly to find answers to the W-questions:
Wer ? Was? Wo?Wohin? Wann? Wie? Warum? (218) which "provide a
rudimantary understanding of the content and a first-stage
familiarization with vocabulary" (218) or in Rosenblatt's terminology,
an efferental reading. Morewedge employs this type "early intensivepractice" (218) reading which "facilitates the transfer of comprehended
input from the Short Term Memory (STM) into the Long Term Memory (LTM),
which in turn become Permanent Memory (PM) through hearing the story from
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different perspectives to minimize the "echoeffect that so often sets
in when early massed rote repetition of the same material takes place,"
as also noted by Earl W. Stevick (219).
On the Second Level: Reading Comprehension aspect of her communicative
exercise, Morewedge directs students to read the text and listen to taped
versions specially prepared outside of class to"build comprehension of
authentic input through primarily receptive activities" in preparation
for brainstorming and sequencing exercises (219).
Brainstorming involves students drawing upon a "list of expressions
and vocabulary items [created at home] by means of which they could, if
asked to, retell the story" (219). Termed bunte Seiten, Stichwörter , or
key terms, formulated at home, they "fit headings and questions announced
previously" (219). Using their bunte Seiten, students mention expressions
they recall from the story, while theinstructor writes them on the board.
Students can express agreement ordisagreement as well as individual
opinions and values through suchexpressions as: das war mir wichtig/nicht
wichtig, weil . . .das halte ich für . . .meiner Meinung nach . . .da
bin ich andererMeinung . . .das sehe ich anders/genauso . . .²²so
ungefähr seh ich das auch, nur finde ich . . .das finde ich auch; aber
trotzdem . . . . .im Gegenteil, das finde ich gar nichtdamit stimme
ich auch überein; trotzdem . . .(220).
This communicative exercise prompts students to review the
vocabulary of the narrative by listening to the suggestions made by
other students, then modify their own lists, and articulate their own
choices.
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Sequencing exercises as a part of level two "provide a vocabulary
review and enhance the student's ability to produce correct word
order"(221). For instance, upon identifying time expressions found in
the narrative, students are urged to order in sequence the statements
which theyproduced randomly in the previous exercise. Or the
instructor may devise model sentences, e.g.:
Examples of expressions of time to be used in this exercise:
eines Tages/ abends/ nachts/ einige Minuten darauf/ als/
nachdem/bevor usw. (221)
Als der Erzähler von dem Dieb die Lokomotive gekauft hatte,
ging er ins Dorfwirtshaus ein Bier zu trinken. Kurz darauf
besuchte ihn sein Vetter. (220)
The third level deals with intensive vocabulary-building activities
such as interactive communication exercises or Bedeutungsfelder in
which students using free association, as well as prior knowledge of
vocabulary, find expressions related semantically to designated topics
as they fill the Bedeutungsfeld . This aspect of Level Three then
incorporates partner work in organizing the vocabulary into
appropriate rubrics, which lead to communication strategies that
"stress the development of means of entering, controlling, modifying,
and terminating interactions" (223), as three to six students develop
an Erzählschema:
Erzählschemaerstes Angebot Parken
Kauf Entdeckung der Lokomotive
Lieferung Lüge des Erzählers
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Besuch Abschied
Begrüßung Meldung in der Zeitung
Bewirtung zweites Angebot
Kommunikative Funktion Wie oft benutzt
Aussage
Wiederholung
Erklärung
Widerspruch
Bitte um Erklärung
Bitte um Auskunft
Kenntnisnahme
Bestätigung
Interpretation
Frage
Umformulierung
In this exercise one student in a group makes a statement about a
list of topics, the other students asking him or her ". . . for
explanations, information, repetition, by offering a restatement,
commentary, acknowledgement, confirmation, interpretation,
exclamation, et cetera" (223). Another member of the group records
the various communicative functions employed by the group:
Example. Thema: Kauf
Aussage: Da ist also ein komischer Mann, der eine Lokomotive
kauft.
Frage: Ist das der Erzähler, der schon einen Fesselballon hatte?
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Bestätigung mit Umformulierung: Eine Privatperson also und keine
Firma.
Frage mit Bestätigung: Es geht doch um den Erzähler in der
Geschichte, nicht wahr?
Interpretation, Kommentar: Der ist aber komisch; warum kauft der
denn als Privatperson eine Lokomotive?
Bitte um Auskunft: Kauft er eine Dampflokomotive oder eine
elektrische?
Frage: Wo kauft er denn die Lokomotive?
Erklärung: Vielleicht wohnt der Erzähler neben alten Gleisen, die
man nicht mehr gebraucht.
Interpretation-Widerspruch: Wer eine Lokmotive kauft, ist doch
deswegen nicht komisch!
Students can also use the Erzählschema to create other similar
interactional exercises, changing designated sentences "with different
functions of speech"(224). The class can be split into two vying groups,
each recording ". . . how often the indicated functions of speech have
been used:"
Example.
1. Angebot 1. Da ist ein Mann, der eine Lokomotive
verkaufen will.
Kauf 2. Wo wird die Lokomotive verkauft?
Lieferung3
. Die Lokomotive wird sofort gebraucht.Besuch 4. Ein Vetter besucht den Erzähler.
Begrüßung 5. Die beiden grüßen einander auf
komische Weise.
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Bewirtung 6. Sie trinken von dem Kognak, den der
Vetter mitgebracht hat.
Entdeckung 7. Hat der Vetter die Lokomotive in der
Garage oder neben dem Haus gefunden?
Abschied 8. Der Vetter will nicht länger bei
seinem Verwandten bleiben.
Meldung 9. Der Erzähler liest in der Zeitung, daß
eine Lokomotive gestohlen ist.
2. Angebot 10. Der Erzähler will also nichts mehr mit
dem Dieb zu tun haben. (224)
Finally Level Three concludes with Synonymübung : Wie kann man das
anders sagen? in which "students focus on important expressions used
in the story, substituting simpler or different expressions they have
begun to understand contextually" (224).
Level Four contains communication/simulation activities using
free-association questions like: "Was stimmt hier nicht?" oder "Was
finden Sie in dieser Erzählung komisch?" If appropriate, a True/false
exercise regarding the text's humorous elements may attune them (225).
Another aspect of the fourth level is role-building, i.e., students as
partners "play opposing roles, such as Gefühlsmensch orPragmatiker ,
composing appropriate scripts, and use as many means of controlling,
changing, and entering the dialogue as possible" (226). Accordingly,
role playing not only "encourages interactional communication"(225),
it also "elicits new vocabulary and selected grammatical structures in
active production"(225), permitting "students to discover interpretive
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insights"(225), while "they act out transactionsmodeled on narrative
structures, such as various games of one-upmanship,dream fulfillment,
etc." (225). Such role-playing and accrued insights assist later in
interpretation on level six.(225)
Level Five treats vocabulary review with special focus.
Here Morewedge explains that "as student production becomes more
diffuse, the instructor will want to refocus it on central ideas of
the narrative and on the fictional situation"(227). In her classroom
she "reviews the vocabulary regularly through expansions of the topical
or thematic hubs used earlier" (227). The instructor usually provides
the axis (Stichwort) of the thematic hub, with studentsproviding as many
spokes to the thematic hub (Stichwöter ) as possible.
The sixth and final level turns to interpretation, for as Morewedge
remarks: "Classroom experience has shown that most students arecontent
with an approach to texts that focuses on building vocabulary
comprehension and communicative competence"(228-9).
Some students, Morewedge notes, wish to go beyond the linguistic
dimensions of the text and into interpretation. These students need
special guidance. Thus on level six Morewedge provides nine examples
of interpretive tasks for students that can be addressed "in group
discussion, as individual or partner projects to be presented to the
class, or even as written assignments" (229). One example, number 9,
is provided here:Jeder hat einen Traum, durch den er/sie manipuliert werden
kann. Hat der Vetter auch einmal einen großen Traum gehabt?
Was mag aus diesem Traum geworden sein? Warum ist der Vetter
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so schockiert bei der Begegnung mit der Lokomotive? (230)
In all, Morewedge's exercises are effective examples of communicative
foreign language instruction which ensure die Entdeckung des Lesers
im literarischen Text. What is more, since the students are reading
literary texts which require interpretation, subliminal "aesthetic" or
experiential readings probably occur simultaneously during the efferental
reading. In fact, these may be the kind of aesthetic readings (in
Rosenblatt's terminology) that Bredella refers to as "gelenktes
Schaffen," the ones that engage the students emotionally.
Thus, in certain instances, instructors may use efferentally
oriented exercises to induce students to read selected passages or
parts of stories more aesthetically. For example, the first sixteen
lines of Thomas Mann's Tonio Kröger , p. 1, represent an authentic
literary passage that fits Kramsch's i + 1 Input Hypothesis for second
semester German students. A few words, i. e., gepflastert (paved),
Giebel (gabel), Gütterpforte (iron gate), rudern (to row, to steer),
Siebensachen (odds and ends), Seehundsränzeln (sealskin knapsack), may
be new to students, so following Morewedge's cue a list and the meanings
is provided to assist in efferental retention. From an aesthetically
oriented perspective, however, the reader soon realizesthat in answering
the (W) questions to obtain more information for STM,the question"wer?"
will require the whole framework of the novel to provide suitable answers.
For instance, the change of geography from north to south back to north,
from Lübeck to München to Dänemark, reflects changes in Tonio's inner
landscape and may even suggest acompromise of sorts between the artist
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and the burgher. Wer? Which Tonio?
The question of "wo?" itself demands involvement of senses and
imagination. Since the first page of Tonio Kröger offers sketchy
information regarding the geographic location of the city in which
Tonio lives, the reader uses textual detail to formulate a Gestalt
that suggests a plausible geographic location, but Lübeck need not
be the only choice. Weather and other environmental conditions could
fit several other northern German or Danish cities. In other words,
each of the W-questions can easily involve readers in efferental as
well as aesthetic readings.
Claire Kramsch and Thomas Nolden argue in their 1994 Unterrichts
article,"Refining Literacy in a Foreign Language":
The difference made by Rosenblatt between efferent reading,
that focuses on the information gathered as a result of
reading, and aesthetic reading, that orients the reader
towards his/her personal reaction to the text during the
act of reading itself, captures the dialogic nature of
reading and meaning-making. (29)
In their article they call for inclusion of literature as an
integral part of foreign language instruction as well as an end to
"the institutionalized dichotomy between literature and language
training . . . " (29). Beyond that, they assert readers of foreign
language texts have a right to assume their own equal stance withregard to their perspective "by the virtue of the very linguistic and
conceptual power that the text has given them" (29).
In short, they call for an oppositional practice in foreign
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language instruction, a term coined by de Certeau and which ". . .
consists of transforming imposed structures, languages, codes, rules,
etc., in ways that serve individual purpose other than those 'intended'"
(29). Or as Ross Chambers remarks:
Oppositional behavior does not seek to change, although it
may produce it, because it does not perceive the power it is
opposing to be illegitimate (even though it is experienced
as alienating). Rather than challenging the power that is in
place, oppositional practices seek to solve an immediate
problem [. . .] 30
They point out that post-structuralism and post-modernism "have
opened up the cannon of interpretation to include such notions as
intertextuality or transtextuality, that should leave space for
multiple relationships between what Genette calls original texts
(or'hypotexts') and their variants (or 'hypertexts')" (29). However,
what has in effect happened in the foreign language classroom is that
the "native speaker norm of language classes has been replaced by the
literary critical norm currently in vogue in academia" (29).
However, "the literate activities of reading and writing in a
foreign language should be considered a paradigmatic example for what
social theorists and literary critics call oppositional practice"(29).
Oppositional practices provide students with an "authorial voice"(30),
as they manage their foreign language, becoming "other in their own
language and . . . themselves in someone else's language" (30). In
addition, like Bredella's Spielräume in his "Gelenktes Schaffen," it
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"demarcates the space of a dialogic literacy that is not only the
source of cognitive growth and understanding, but that can also elicit
a 'flood of aesthetic delight, . . .'" (30).
Kramsch's following comments about "authenticating" texts sheds
light on the dynamics involved in arriving at meaning in reading a
text:
Recent developments in second language reading theory have
made it clear that reading is not a passive skill of
recognition, but an active bottom-up and top-down process:
by matching the words on the page with the global meaning
emerging from the text, and in turn by matching their global
hypotheses with the individual words on the page, readers
build for themselves structures of expectations called
"schemata" that allow them to anticipate the meaning of
words according to the context. These schemata, or
mental representations, are triggered both by ideational
content and by the linguistic and discursive structures of
the text.(28)
Kramsch reminds us that the "meaning or the authenticity of a text
is not in the text itself, but, rather, it emerges from 'negotiation'
between the reader and the text" (28).
In her Reden Mitreden Dazwischenreden, Kramsch explains that her
". . . workbook introduces the student to some of the most importantcommunicative strategies needed by speakers and hearers engaged in
face-to-face interaction. They are systematically presented in
increasing degrees of interactional difficulty" (vii). She goes on to
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explain how the organization of the chapters reflects the student-
centered approach. Two examples will suffice:
Das Konversationsspiel: Students reflect on the basics of
conversational management and learn key phrases that allow
them to be active participants in any conversation.
Reden: Students practice conversational strategies in
simple, guided situations, to focus on learning effective
rhythm, timing, and pronunciation of useful phrases. (vii)
Thus Kramsch's communicative notion of interaction focuses on students
interacting with texts and each other interpersonally , whereas
Patricia L. Carrell, for instance, in her chapter, Forstering
Interactive Second Language Reading, Initiatives in Communicative
Language Teaching II: A Book of Readings suggests that interactive
second language reading with top-down and bottom-up strategies is an
intrapersonal reading process which precedes interpersonal discourse.
Returning to Kramsch and Nolden's discussion of the value of
oppositional practice in foreign language instructions, we are
presented with a prose narrative in a third-semester German course,
"Deutsch Kastanien" by Yüksel Pazarkaya, focusing on discrimination
against Ausländer in Germany. Born in Germany of Turkish parents, the
young son, Ender, considers himself and his native tongue to be
German. However, one day his favorite playmate, Stefan, refuses to
play with Ender because, as he claims, "Du bist kein Deutscher " (30).
This incident in turn recalls a previous scene when some German
children refused to let Ender gather chestnuts with them because:
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"Du bist Ausländer . Das sind deutsche Kastanien. Wenn du sie anfaßt,
kannst du etwas erleben" (30). Perplexed, Enders seeks guidance from
his parents, but receives no satisfactory explanation from his mother,
while his father states: "Du bist Türke, mein Sohn, aber du bist in
Deutschland geboren," telling Enders that he will speak with Stefan
(30). Kramsch and Nolden's assignment for their students is "Fassen
Sie die Geschichte in 4-5 Sätzen zusammen" (30).
Kramsch and Nolden then remark that "each student, despite his
or her limited linguistic resources, recast the story within a unique
discourse perspective" (30). They identify "three major ways in which
the students transformed Pazarkaya's original hypotext into their own
(hyper)texts: re-evaluation of the events, re-structuring and re-
weighing of the information, re-location of the story's meaning" (30).
Under the first category, Re-evaluation of the events, "students'
summaries fell roughly into four categories according to the type of
evaluation they added to the factual rendition of events" (31).
1. Implicit evaluation. Here students' summaries adhered
closely to the original story line as they avoided adding
definite personal evaluation. (31)
2. Intradiegetic evaluation. Here some students clearly
mentioned characters' motivations or feelings,
". . . either by quoting from the original ('[Die Eltern]
kamen aus Türkei, um Geld zu verdienen'), by paraphrasingthe original ('Enger war sehr traurig,' 'Er fühlt
beleidigt,' 'An diese Frage sind die Eltern überrascht') or
by supplying an explanation that was
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not in the text ('Der Sohn dachte, wenn man Deutsch spräche,
wäre er deuts*+ch')." (31)
3. Extradiegetic evaluation. Other students provided "an
authorial evaluation of the theme of the story." (31) In other words,
according to Kramsch and Nolden, these students, through their
authorial voices, try "to bridge the world of experience and the world
in which the story was written." (31)
4. Global interpretation. Yet another smaller group of students
chose to synthesize rather than summarize, perhaps reflecting "their
own American puzzelment at the current discrimination against
foreigners in Germany." (31-2)
The second category, Re-structuring the Information, reveals that
students not only used their authorial evaluative voices, they
restructured the sequence and value of the information implicit in the
story, i.e., they "used grammar and syntax to restructure the text's
informational content so it fitted their own understanding of the
story"(32). Whereas some students remained close to the original text,
e.g.,
"Enders Freund Stephan sagte ihm 'Du bist kein Deutscher!'" (32)
others wrote topic sentences reflecting what they thought the main
point of the story to be:
"Ein Junge, der Ender hieß, hatte einen guten Freund, der Stefan
hieß."(32)
And still others addressed the political issue, e.g.,
"Ender ist Türkischer Jung , er in Deutschland wohnt." (32)
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Thus each of the previous, altered beginnings creates new
anticipations for the reader, since students' re-structuring alters
the value of the given events.
Kramsch goes on to point out:
By inserting their own valuation and evaluation of the
original textual events into their hypertexts, and by
refocusing the information structure in the very syntax
used, the student authors relocated the meaning of the story
into a new discursive structure. (32)
Furthermore, the third-semester foreign authors are able to
transcendtheir linguistic limitations through discourse ability. Kramsch
presents two examples and comments on them:
Diese Geschichte ist über einer jugend. Er heißt Ender. Und
er hat eine Probleme weil, sein Freund ihm sagte daß er kein
Deutscher ist. Und alles wo Ender geht die Menschen sagt zu
ihm daß, er kein Deutscher ist. Er ist ein Ausländer von
Türkei. (33)
Although there are grammatical and punctuation errors in the student's
summary, it nevertheless expresses through its "rhythm"(33) and its
"simple powerful structure the tragic human situation of foreigners in
Germany"(33). The effective use of parallel and complex sentences
is hampered only by linquistic limitations.
The second example of "successful" discourse ability follows:Es gibt ein Türke Kind, das Ender heißt, das in Deutschland
wohnt. Er ist im Deutschland geboren, und er spricht Deutsch
am besten. Er geht zu eine Deutsche Schule, und seine
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Freunden sind Deutsche. Aber, die Deutsche Kinder sind ihm
böse und sie sagen das Ender keine Deutsche ist, weil seine
Eltern Türke sind. Das wird schwer, wenn er älter wird . (33)
In analyzing the second short summary, Kramsch remarks that the
framing of the student's version of the story by the word "Türke," at
the beginning and end may well be a metaphor for the "Türkish boy
whose world is now Germany, but who lives at the periphery of the
world" (33). Furthermore, repeating the word "deutsch" so often may
reflect discourse awkwardness of third-semester German students, but
it may also reflect the author's conscious intent. However, Kramsch51
points out that these sentences were formed ". . . from a set of
available options and from decisions as to what to say and how to say
it in so few words" (33) Thus it is ". . . possible to read these
texts as authors' texts in their own right and to assess their effect
on the reader" (33). In short, the students' oppositional hypertexts
re-valued, re-structured, and re-located the center of meaning of the
original hypotext. In that sense, foreign language students find
themselves interpreting the hypotext in order to create a hypertext,
which is a technique that enables students to realize thata summary is
". . . already an interpretation and a way of inserting oneself into someone
else's story " (33). Indeed, their oppositionaltexts provide students
". . . the opportunity to discover the potential meanings of their own
texts" (34). Oppositional texts make literary texts accessible to
different kinds of reading which do not espouse a specific literary theory.
This story, "Deutsche Kastanien" by Yüksel Pazarkays, seems to
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echo a concern for the travails of the social outsider as evidenced
years earlier in Thomas Mann's TonioKröger . For example, in a
conversation between Hans Hansen, a stereotypical northern German who
". . . war außerordentlich hübsch und wohlgestaltet, breit in den
Schultern und schmal in den Hüften, mit freiliegenden und scharf
blickenden stahlblauen Augen,"(3) and Tonio, under whose . . .
Pelzmütze blickten aus einem brünetten und ganz südlich scharf
geschnittenen Gesicht dunkle und zart umschattete Augen mit zu
schweren Lidern träumerisch und ein wenig zaghaft hervor . . . Mund
und Kinn waren ihm ungewöhnlich weich gebildet" (3), Hans says about
Tonio's name:
Ich nenne dich Kröger, weil dein Vorname so verrückt ist, du,
entschuldige, aber ich mag ihn nicht leiden. Tonio . . . Das
ist doch überhaupt kein Name. Übrigens kannst du ja nichts dafür,
bewahre! (10)
At this point, Jimmerthal, another stereotypical northern German,
contributes: "Nein, du heißt wohl hauptsächlich so, weil es so
ausländisch klingt und etwas Besonderes ist"(10). Following the lead
of Kramsch and Nolden, a German foreign language instructor using
literature to foster written and spoken communicative discourse in the
foreign language classroom, may use exercise #14 on p. 61 this thesis.
Of course, at times the language and content of Tonio Kröger mayexceed
the lingustic capabilities of second and third semester German students;however, in view of Beverly Moser, Dolly J. Young and Darlene F. Wolf's
Schemata: Lesestrategien, Claire Kramsch and ThomasNolden's "Redefining
Literacy in a Foreign Language," and Joanne Collie and Stephen Slater's
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Literature in the Language Classroom and their particular concern for
variety in the language classroom,many parts of the novel afford authentic
and appropriate literary selections for the language classroom.
Another German foreign language instructional text which uses
literature to provide ample interactive discourse and reading
activities in both small and large groups is Larry D. Wells' Mitlesen
Mitteilen: Literary texts for Reading , Speaking , and Writing . The book's
twenty-four stories, exercises, reviews, glosses for individual
stories, listing of Strong and Irregular verbs, and a German-English
Vocabulary are "designed for students in third- and fourth-semester
college German"(v). For example, using a story from Clemens Hausmann's
"Sonntagvormittag ," students are asked for first impressions:
ERSTES LESENERSTE EINDRÜ CKE
Lesen Sie diese Geschichte schnell durch. Drücken (express) Sie
den Inhalt (content) des Textes in zwei Sätzen aus, ohne noch
einmal in den Text zu schauen. (14)
Then the students move to GRÜ NDLICHES LESEN , where they are directed:
Lesen Sie diesen Text jetzt genau durch (15). Next students' comprehension
of the text is addressed:
Zum Textverstädnis (schriftlich)
Erzählen Sie kurz, was die folgenden Personen an diesem Sonntagvormittag
taten und warum sie das taten.
In addition, the students are told that although they will find what
the characters did by reading the text, in order to decide why the
characters did what they did, the students will have to speculate.
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Afterwards in Zum Schreiben (Wählen Sie eine Aufgabe.) students are
asked to write in short sentences, what each person would have done if
the title of the story had been Montagvormittag , or write in a
sentence of their own ,,Als . . da" story (in at least 100 word, or
write a short essay with the title ,,DieAtombombe: meinbester
Freund " (12 bis 15 Sätze)".
Finally in Zur Diskussion students are given several discussion
questions related to the story they have read:
1 Diskutieren Sie, wie der Autor seine Geschichte aufbaut, sodaß das Ende ganz plötzlich und unerwartet kommt. Warum z.B.Sonntag statt Montag oder Freitag?
2. Was meinen Sie?
a. Ich finde diese Geschichte glaubhaft (nicht
glaubhaft), weil . . .
b. Ich bin für (gegen) Atomwaffen, denn . . .
3. Gruppenarbeit: "Kettenreaktion" (chain reaction) von einer
Person zur nächsten durch die Reihen der Gruppe: "Bei diesem
Thema denke ich automatisch an . . ."
Beispiele: an kaputte Städte und Länder
an den Tod der Menschheit
an die Außenpolitik einiger Staaten
Thus the lesson first provides students with individual skimming
and thorough reading exercises followed by writing activities, group
discussion and negotiation of textual meaning. All of these techniquesaddress the communicative aim of the text, clearly announced in
the title of the text: MitlesenMitteilen: Literary Texts for
Reading, Speaking, and Writing , which is so attuned to Savignon's as
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well as Kramsch's ideas regarding communicative competence. This
lesson, as with the others, reflects Wells' implementation of
Savignon's understanding regarding integration of the four language
acquisition competencies: Grammatical competence, Sociolinguistic
competence, Discourse competence, and Strategic competence. That is to
say, ". . . a learner does not proceed from one to another' as one
strings pearls on a necklace" (45).
Each of Well's lessons, like Morewedge's, Kramsh and Nolden's is
a paradigm which reflects Kast's Paradigmawechsel and which easily
requires students to use of all four competencies. In fact, its
various previewing, brainstorming, and paraphrasing pedagogies allow
implementation at even first and second semester levels with the
appropriate texts. In addition, students are asked to conceptualize
and speculate regarding meaning and outcomes of the story. In order
to do so, they will use both bottom-up and top-down processing as
described in Kramsch's comments concerning interactive reading.
CHAPTER III: ARBEITSBLÄTTER FOR THE GERMAN FOREIGN LANGUAGE
COMMUNICATIVE CLASSROOM_____________________________________________________________________Arbeitsblatt 1
Die Studenten arbeiten in Kleingruppen und beantworten die
folgenden Fragen. Was lernt der Leser über die Verwandschaft Tonios
und Hans durch ihre kurze Unterhaltung (S. 1)?
_____________________________________________________________________Arbeitsblatt 2Nachdem die Studenten die Beschreibungen von Tonio Kröger und Hans
Hansen (S. 2-3) und die Unterhaltung zwischen Tonio, Hans und
Jimmerthal (S. 10) gelesen und in der Klasse diskutiert haben,
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fassen sie die Unterhaltung in 4-5 Sätzen zusammen._____________________________________________________________________Arbeitsblatt 3
Am nächsten Tag sitzen die Studenten in Kleingruppen zu zweit oder
zu dritt. Die Studenten hören die Zusammenfassungen der Mitglieder
jeder Gruppe und reagieren mündlich dazu. Dann verfaßt jede Gruppe
ihre eigene Gruppenzusammenfassung ._____________________________________________________________________Arbeitsblatt 4
Als Hausaufgabe beschreiben die Studenten kurz fünf Dinge, die die
Leser entdecken von der Schule und von den Studenten (S.1 ).
Schule Studenten1. ______________________________________________________________
2. ______________________________________________________________
3. ______________________________________________________________
4. ______________________________________________________________
5. ___________________________________________________________________________________________________________________________________Arbeitsblatt 5
In der Klasse erklärt die Lehrin, wer Wotan und Jupiter waren. Dann
schlagen die Studenten nach, was Wotanshut und Jupiterbart bedeuten
und wer diese Hüte und Bärte trägt (S. 1)._____________________________________________________________________Arbeitsblatt 6
In der Klasse erklären die Studenten weiter, warum ihrer Meinung nach
große Schüler mit Würde ihr Bücherpäckchen hoch gegen die linke
Schulter gedrückt hielten (S. 1).
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______________________________________________________________________
______________________________________________________________________
Studenten können längere Antworten schreiben, daher sollen die Lehrin
mehr Zeilen schaffen.
Am nächsten Arbeitsblatt sollen Studenten Textstellenidentifizieren, um weiterere Auseinandersetzung mit dem Text zu
fördern. Die Studenten sollen in Kleingruppen diskutieren (4-5 Gruppen
zu je 4 Studenten, aber Arbeitsblatt 4 sollte zuvor individuell
ausgefüllt werden.____________________________________________________________________
Arbeitsblatt 7
Warum fühlt sich Tonio erregt nach seinem Spaziergang mit Hans?(S. 12) Für Arbeitsblatt 7 teilt die Lehrin die Klasse in Männer und Frauen._____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________Arbeitsblatt 8
Unten ist die Beschreibung der Szene gerade vor der Quadrille
beginnt. In Kleingruppen zu zweit oder zu dritt schaffen die Studenten
einen Dialog von wenigstens 5 mündlichen Wechsel. (S. 16)
O doch, das kam vor. Da war Magdalena Vermehrem, Rechtsanwalt
Vermehrens Tochter, mit dem sanften Mund und den großen, dunklen,blanken Augen voll Ernst und Schämerei. Sie fiel oft hin beim Tanzen;
aber sie kam zu ihm bei der Damenwahl, sie wußte, daß er Verse
dichtete, sie hatte ihn zweimal gebeten, sie ihr zu zeigen, und oftmals schaute sie ihn von weitem mit gesenktem Kopfe an. Aber was
sollte ihm das? Er, er liebt Inge Holm, die blonde lustige Inge, . .Tonio oder Magdalena: 1.
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Magdalena oder Tonio:
M/T: 2.
T/M _____________________________________________________________________
_
T/M: 3.
M/T ______________________________________________________________________
M/T: 4.
T/M______________________________________________________________________
M/T: 5.
T/M:_____________________________________________________________________Arbeitsblatt 9
In zehn bis fünfzehn Worten ergänzen die Studenten als Hausarbeit die
folgenden Darstellungen. Am nächsten Tag in der Klasse vergleichen
die Studenten ihre Versionen mündlich.
1. Sie bewegte sich vor ihm hin und her, vorwärts und rückwärts,streitend und drehend, ein Duft, der von ihrem Haar oder dem
zartem, weißem Stoff ihres Kleides ausging, berührte ihn manchmal,
. . . (S. 17)
582. Jedermann ward erdrückt durch das Ü bermaß seiner Sicherheit und
Wohlanständigkeit. Er schrittund niemand schritt wie er,elastisch, wogend, wiegend, königlichauf die Herrin des Hauses
zu, . . . (S. 14)
3. Und er umkreiste behutsam den Opferalter, auf dem die lautere und
keusche Flamme seiner Liebe loderte, kniete davor und schürte und
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nährte sie auf alle Weise, . . . (S. 20)
4. Aber obgleich er einsam, ausgeschlossen und ohne Hoffnung vor
einer geschlossen Jalousie stand und in seinem Kummer tat, als
könne er hindurchblicken , . . . (19)
5. Er verstand es so gut, daß Inge, die blonde, süße Inge, auf HerrnKnaak blickte, wie sie es tat. Aber würde denn niemals ein Mädchen. . . (16)
6. Er ging über den Mühlenwall und den Holstenwall und hielt seinen
Hut fest . . . (47)______________________________________________________________________Arbeitsblatt 10
In Teil Eins und Teil Zwei Tonio Krögers sehen die Leser Phrasen, die
oft wiederholt sind. Unten sind drei Beispiele. Die Studenten arbeiten
in Kleingruppen zu dritt.
Erst sollen die Studenten diese Phrasen im Text finden.
Zweitens entscheiden die Studenten, wie diese Frasen Tonio
wichtig sind.Drittens sollen die Studenten zwei andere Frasen finden, die
wenigstens dreimal wiederholt sind.
Viertens erklären die Studenten schriftlich in fünzig Wortenwie ihre Frasen Tonio oder noch jemandem im Teil Eins oder Teil
Zwei wichtig sind.
Frasen
1. Wir sind doch keine Zigeuner im grünen Wagen.
2. Konsul Kröger, die Familie der Kröger
3. der langesinnende sorgfältig gekleidete Herr mit der
Felderblume im Knopfloch_____________________________________________________________________Arbeitsblatt 11
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Während ihrer Unterhaltung (S.9 - 11) benehmen sich Tonio, Hans und
Jimmerthal auf verschieden Weisen. In Kleingruppen zu viert
identifizieren die Studenten zwei Art Benehmen jeder Gestalten
oben. Studenten dürfen ein Wörterbuch gebrauchen um Arten Benehmen
zu finden.
Tonio ________________________________________________________
Hans _________________________________________________________
Jimmerthal ______________________________________________________
Nachdem Studenten ihre Wahlen gemacht haben, vergleichen sie sie mit
den Wahlen zwei anderer Grupen.
Änderen Studenten oder Gruppen ihre Entscheidigungen? Erklären welche
und warum. _____________________________________________________________________
Arbeitsblatt 12e folgenden Worten (S. 5) beschreiben Tonios Mutter
und Vater.
Da er daheim seine Zeit vertat, beim Unterricht langsam
und abgewandten Geistes war und bei den Lehrern schlecht
abgeschrieben stand, so brachte er beständig die erbärmlichsten
Zensuren nach Hause, worüber sein Vater, ein sorgfältig
gekleideter Herr mit sinnenden blauen Augen, der immer eine
Feldblume im Knopfloch trug, sich sehr erzürnt und bekümmert
zeigte. Die Mutter Tonios jedoch, seiner schönen, schwarz-60
haarigen Mutter, die Consuelo mit Vornamen hieß und überhaupt so
anders war als die übrigen Damen der Stadt, weil der Vater siesich einstmals von ganz untern auf der Landkarte heraufgeholt
hatte,seiner Mutter waren Zeugnisse grundeinerlei.
_________________________________________________________________
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Die Studenten arbeiten in Kleingruppen zu drit oder viert.
1. Vergleichen die Beschreibung Tonios Vaters mit derjenigen
Tonios Mutter. Wie viele Ähnlichkeiten und Verschiedenheiten
entdecken der Leser?
ÄhnlichkeitenVerschiedenheiten
_______________________ ________________________
_______________________ _________________________
2. In fünfzig Worten schaffen die Studenten eine kleine
Unterhaltung, in der Tonios Eltern diskutieren die Zukunft
ihres Sohnes.
_____________________________________________________________
_____________________________________________________________
3. Nun spielen die Studenten die Rollen Tonios Muter und Vater
als sie Tonios Zukunft diskutieren. Stimmen die Eltern
überein mit?
4. Nun schreibt jede Gruppe einen Abschnitt der die
Stellen der Eltern erklärt.________________________________________________________________Arbeitsblatt 13
Die Studenten sitzen in Kleingruppen zu zweit und benützen die
gleichen Unstände als gestern, aber diesmal nimmt Tonio in der
Unterhaltung teil.
1. Stimmt Tonio mit seiner Eltern ein?
2. Welche neue Dimension stellt Tonio vor?3. In zweiundzwanzig Worten erklärt jede Gruppe schriftlich
Tonios Stelle.___________________________________________________________________Arbeitsblatt 14
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sind und auch wirklich in den Versen, die Tonio Kröger zuweilen
verfertigte, immer wieder erklangen. (S. 4)
Im Text finden die Studenten drei Beispiele solcher Wörter, und morgen
erklären die Studenten der Klasse, warum wenigsten eines paßt als
Beispiel.
Gerard F. Schmidt's "Die Wette" from his Hör Gut Zu! is a lively
and entertaining Märchen involving a hedgehog with short crooked legs
and a hare who taunts the hedgehog until he is forced into a seemingly
impossible race with the long-legged, much faster hare. In addition,
the racers wager twenty dollars and a bottle of wine. Relying on the
hare's cocksureness that he will win the race because of his long
legs and speed, the hedgehog explains to the hare that he must first
go home and get permission from his wife, Olga. The hare agrees, for
the possibility of the hedgehog winning is remote. Once home, the
hedgehog reveals to his wife that he has plan to win the bet. He
hides his wife behind the bush to which he and the hare will race and
then returns to the hare, saying that they should race from a bush
where they stand to a bush visible in the distance, but the bush
behind which Olga secretly hiding.
When the hare and the hedgehog start their race, it is not long
before the hedgehog falls far behind and goes back to the bush where
he and the hare were standing. The hare continues with blazing
speed to the bush to which he and the hedgehog were to run. However,
when the hare arrives at the bush, Olga jumps out and exclaims,
"Hahaha! Ich bin schon da!" Assuming that the hedgehog behind the bush
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is the original hedgehog, the hare thinks he has lost and demands
another race. Olga agrees and they start. Just as before, the hedgehog
falls back and hides behind the bush while the hare continues fast as
possibile to the original bush behind which the first hedgehog is hiding.
When the hare arrives, the hedgehog jumps out and says "Hahaha! Ich bin
schon da." Once again the hare cannot believe his eyes and demands another
race. Ultimately the hare loses twelve races and two hundred and forty
Marks.
(Videotaped by students of German 102class 1993. Broome Community
College, Binghamton.)
Schmidt's version of the approximately four-page tale is suitable
for a second semester German class meeting four academic hours a week for
fifteen weeks or two hundred and forty academic hours instruction per
semester. "Die Wette" and the other stories aredivided into four major
parts which in turn can be further subdivided to accommodate several daily
communicative instructional goals. Planning to use one of the four major
divisions of the story as a 15 minute portion of classroom instruction
each day for four weeks,enables students to complete "Die Wette" in about
a month._____________________________________________________________________
Arbeitsblatt 18Wie sieht ein Igel aus? Was für ein Tier ist der Igel? Wo die
Fragezeichen unten stehen, schreiben Sie ein Wort, das den Igel
beschreibt ihrer Meinung nach .
_____________________________________________________________________? ?? ? Igel
_____________________________________________________________________
Nun lesen die Studenten ihre eigenen Beschreibungen eines Igels vor,
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und dann zeigt die Lehrin den Studenten eine Definition eines Igels
Zum Beispiel:
Der Brockhaus beschreibt den Igel so: Insektfreser, bis 30
cm langer plumper Körper, mit kurzen Beinen, kurzem Schwanz und
aufrichtbaren Stacheln auf dem Rücken. Der I. kann sich bei
Gefahr zusammenrollen. Er nährt sich von Schlangen, Insekten,
Mäusen und ist dadurch nützlich. (381) _____________________________________________________________________Nachdem die Studenten Teil Eins "Die Wette" in drei bis fünf Minuten
in der Klasse gelesen haben, einige Studenten lesen der Klasse den
Text mündlich vor. Danach sollen Studenten eine kurze Aussage (15
Worten) über den Text schreiben. Dann reichen die Studenten ihre
Aussagen nach links bis alle Studenten eine neue Aussage haben. Nun
lesen die Studenten ihre neuen Aussagen und reagieren darauf mit den
folgenden Beispielen:_____________________________________________________________________Arbeitsblatt 19Ich stimme mit der Aussage überein, weil............................
_____________________________________________________________________ _ _____________________________________________________________________ODER
Ich stimme mit der Aussage nicht überein, weil .................
____________________________________________________________________
_________________________________________________________________________________________________________________________________________
Arbeitsblatt 20
Die Studenten sitzen in Kleingruppen zu dritt oder zu viert. JedeKleingruppe schreibt Teil Eins bis zur 100 Worten um und reicht
ihre Umschreibungen nach links. _____________________________________________________________________ _
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Schiller," Claire Kramsch suggests some fruitful avenues to generate
interpretations of literary texts. Using techniques described by
Robert C. Hawley in Human Values in the Classroom: Teaching for
Personal and Social Growth, which he employed as an English teacher,
Kramsch applies the method to her teaching of Schiller's Kabale und
Liebe. Under the category of "Information Seeking, Gathering, and
Sharing," Kramsch lists several methodologies in the following order:
Brainstorming, Blackboard Press Conference, Role Playing. She then
suggests the ensuing procedure:
After a problem is posed, students attempt to answer it as fast
as possible in the following manner:
a. Write down each idea on the board as it is expressed.
b. Do not judge any idea during the brainstorming period.
The students, inhibited by the language and their low esteem
in matters of German literature, should realize that the
teacher is open to differing opinions.
c. Make clear that anyone has the right to pass.
d. Work for quantity, not for quality. This is not a way of
testing the individual student, but a group collecting effort.
e. Encourage far-out ideas.
f. Encourage association of ideas. Students learn to listen to
one another and use others' ideas as a springboard.
g. Set a time limit for the brainstorming period (no more thanfive to ten minutes) and adhere to it. (89)
The following are some e questions that students can answerwith
regard toTonio Kröger using Kramsch's above method to incorporate
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den Hase? Textstelle
________________________________________________ __________
________________________________________________
__________
den Igel
_________________________________________________ __________
_________________________________________________ __________
Olga ___________________________________________________________________________________________________________________________________
Arbeitsblatt 27
"Ich bin ein guter Mensch und wette nie um Alkohol. Warum nicht
zwanzig Mark anstelle zehn." So hat der Igel vorgeschlagen. Was
würde Olga vorschlagen, wenn sie da wäre?
(Beispiel)
Der Hase: Ich wette um zwanzig frische Karotten.
Der Igel: Ich wette um eine neue Pfeife.
Olga: I wette um . . .
_________________________________________________________________
_________________________________________________________________
Warum? (Verwenden Sie die folgenden Frasen so oft wie möglich in
der Unterhaltung zwischen Olga, ihrem Mann und dem Hase):
Meiner Meinung nach ist . . .
Ich bin der Meinung, daß . . .
Ich finde . . .
Ich meine . . .
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Ich sehe die Sache so:
Ich bin der Auffassung, daß . . . S. 11.._____________________________________________________________________Arbeitsblatt 28
Lesen Sie das Ende "Der Wette" und wählen Sie der Geschichte eine
passende Moral. Wenn Sie keine Moral finden, schaffen Sie eine. Seien
Sie bereit, Ihre Wahl in der Klasse mündlich zu erklären und zu
verteidigen. Beispiele:
1. Das Gute hat das Böse besiegt.
2. Das Böse bekommt seine verdiente Strafe.
3. Der gute Arme wird reich.
4. Im Lauf des Lebens findet der Schwache keine Harmonie.
________________________________________________________________________________________________________________________Arbeitsblatt 29
Olga muß jeden Tag zu Hause bleiben, um das Haus aufzuräumen und für
die Kinder sorgen. Die Tage werden langweilig und Olga wird müde.
Darum hat sie sich entschieden, Arbeit in der Stadt zu finden.
In Kleingruppen zu dritt oder viert beschreiben die Studenten den
jetztigen Wohnort Olgas (ein Loch, ein Busch, ein Garten ?) und auch
den Wohnort den sie sucht nachdem die neue unabhängige Olga ihre
Arbeit in der Stadt bekommen hat. In der Klasse erwähnen die Studenten
verschiedenheiten der vorigen und jetzigen Wohnorten und erklären die
Gründe dafür._____________________________________________________________________
Arbeitsblatt 30Studenten sollen zu Hause die folgenden zwei Fragen beantworten und am
nächsten Tag in der Klasse die Antworten diskutieren.
Was kann die arme Frau eines Igels tun?
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Was für Arbeit soll Olga suchen?
Die Studenten sollen als Hausaufgabe die folgenden zwei Formulare
fertigen. Dann sollen die Studenten in der Klasse die Formulare
vergleichen und diskutieren.______________________________________________________________________ Arbeitsblätter 31 und 32
Jedoch ehe Olga Arbeit findet, muß sie eine Biographie und einen
Tagesablauf ausfüllen.
Name
Geburtsdatum
Geburtsort
Eltern
Schulbildung
Familienstand
Adresse
Wie heissen die Kinder?
Wie alt sind die Kinder?
Interessen _____________________________________________________________________Arbeitsblatt 33
Wählen Sie eine passende Arbeit für Olga. Erklären Sie Ihre Wahl.
____________________________________________________________________
____________________________________________________________________
_____________________________________________________________________Ergänzen Olgas Tagesablauf
8:00 Uhr morgen bis 24 Uhr Nachts.______________________________________________________________________
______________________________________________________________________
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___________________________________________________________________________________________________________________________________________
Arbeitsblatt 34 (Role-Play)
Die Studenten dürfen die zwei Formulare oben benutzen, um eine
Arbeitssituation zu bauen. In der Arbeitssituation findet man Olga
als Chefin oder als zwei andere Möglichkeiten. In der Klasse
diskutieren die Studenten den Grund ihrer Wählen. ____________________________________________________________________Arbeitsblatt 35
Die Studenten arbeiten in Kleingruppen zu dritt oder zu viert.
Jede Gruppe bekommt eine Karte mit den folgenden zwölf Wörten:
Bär, Baum, Bienen, Honig, Süßigkeit, genießen, Erlaubnis, steigen,
stechen, fallen, weinen, lernen.
Dann lesen die Studenten das Folgende:Eines Tages nach ihrer Arbeit saß Olga zu Hause im Garten als sie
eine erfrischende Karotte fraß. Plötzlich sah sie eine Aktivität
im Garten. Was sah Olga?
1. Zuerst muß jede Gruppe die zwölf Wörte oben in ihrer eigenen
Geschichte benutzen. Aber die Reihenfolge der Wörter auf der Karte hilft beim Erzählen jeder Geschichte.
2. Dann erzählen die Kleingruppen ihre Geschichten. Um viele
langweilige Wiederholungen ähnlicher Gesichten zu vermeiden,
fragt die Lehrin, wer andere Variationen hat.
3. Zuletzt versucht die Klasse gemeinsam, Titel den Geschichten
zu geben.4. Die Studenten hören die Titel zu und entscheiden welcher am
interesantesten ist. Dann lesen die Studenten den Text und
stellen Fragen darüber. _____________________________________________________________________
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Arbeitsblatt 36
Die Studenten arbeiten zu Hause und schreiben den folgenden Satz
um. Sie müssen die Leerstellen füllen, um einen neuen Satz mit neun
neuen Wörter zu bauen. Morgen lesen die Studenten ihre Sätze vor und
diskutieren ihre verschiedene Darstellungen. Wenn möglich könnten
die Lehrin oder die Studenten ein Vorführgerät gebrauchen oder
einige Sätze an die Tafel schreiben.
Er ________nicht wie _________, der_________, um zu _______,
sondern wie _______, der ______, als _________, weil er sich als __________
_________ für nichts_______, nur als___________ im ________ zu________
_________ und im _______ _______ und auffällig ________, wie ein
abgeschminkter ___________, der nichts______________ hat.
Er arbeitete nicht wie jemand, der arbeitet, um zu leben, sondern wie
einer, der nichts will, als arbeiten, weil er sich als lebendigen
Menschen für nichts achtet, nur als Schaffender in Betracht zu kommen
wünscht und im übrigen grau und auffällig umhergeht, wie ein
abgeschminkter Schauspieler, der nichts darzustellen hat. (S. 24)____________________________________________________________________Arbeitsblatt 37
Die Studenten arbeiten fünfzehn bis zwanzig Minuten in Kleingruppen zu
zweit. Jeder Student jeder Gruppe spielt die Rolle eines Charakters
des Romans (Krögers), der fragt über das Leben des zweiten Charakters.
Zum Beispiel, Hans Hansen fragt Tonio: "Tonio, kannst du deiner
Meinung nach einen guten Freund beschreiben?" oder "Inge, was für
Musik hast du am liebsten?" Man darf Fragen über Bücher, Kleider,
Tiere, Lieblings Pferde, Arbeit, Träume, idealistischen Mann oder
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idealistische Frau, Familien, Schul, Geschenke, und so weiter stellen
In anderen Worten beantworten die Studenten die Fragen, als ob sie der
Charakter im Roman wären. _____________________________________________________________________
_ Arbeitsblatt 38
Die Studenten arbieten zu viert und vergleichen die folgenden Sätze:
Ich stehe zwischen zwei Welten, bin in keiner daheim und habees infolge dessen ein wenig schwer (Kröger 79).
Zwei Seelen wohnen, ach, in meiner Brust,
Die eine will sich von der anderen trennen (Faust (Z. 112,3).
Jede Gruppe erklärt, wie die zwei Sätze ähnlich sind und wie sie für
Tonios Leben wichtig sind. Dann teilen die Gruppen in der Klasse ihre
Erklärungen._____________________________________________________________________Arbeitsblatt 39
Jeder Student der Klasse steht auf, beschreibt sich kurz und fragt,
"Wer bin ich nicht?,,
Beispiel: Erster Student - "Ich trinke heißes Wasser. Wer bin ich ?,,
Zweiter Student - "Tonios Vater."
Erster Student - "Falsch."
Dritter Student - "Hans Hansen."
Erster Student - "Falsch."
Und so weiter bis fünf Studenten falsch antworten oder bis ein
richtig antwortet. Am Ende dürfen Studenten Fragen stellen, zB. "Warum
trinken die Amerikaner auf Seite 67 heißes Wasser?" Nun versucht der erste Student die Frage zu beantworten. Wenn er die Frage nicht
beantworten kann, muß der zweite Student die Antwort geben. Wenn die
Mitglieder der Klasse nicht übereinstimmen, können sie Vorschläge
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machen._____________________________________________________________________Arbeitsblatt 40
Auf Seite 78 schreibt Tonio Lisaweta an. Nach einer Monate schickte
sie Tonio ihre Antwort. Was hat sie geshrieben? Zu Hause muß alle
Studenten die Rolle Lisaweta spielen und einen Brief ungefähr 100
Worten an Tonio schreiben. In der Klasse lesen die Studenten
freiwillig ihre Briefe vor, um extra Kredit zu bekommen.
In Lisawetas Antwort müß die Studenten fünf der folgenden Fr asen
gebrauchen: Das Problen liegt darin, daß . . . / Es besteht ein
Konflikt zwischen (Dat.) und (Dat.) / Mit anderen Worten / Ich bin
fest davon überzeigt, daß . . . / Im algemein . . . / Im großen und
ganzen . . . / Im Gegensatz zu (Dat.) / Im Vergleich zu / In dieser
Hinsicht. . . / Abschließend kann man sagen, daß . .._____________________________________________________________________Arbeitsblatt 41
Am folgenden Tag erläuchtern die Frauen und Männer, wie ihre Briefe
einenander passen. Die Unterhaltung soll immer Höflich bleiben.
_____________________________________________________________________Arbeitsblatt 42
Im folgenden Abschnitt "ging [Tonio] den Weg, . . . . . überhaupt
nicht gibt." (S. 21)
Ist Tonio krank oder verloren oder vielliecht nur hungig? Jeder
Student soll zu Hause in 200 Worten eine Theorie bereiten. Morgen in
der Klasse arbeiten die Studenten in Kleingruppen zu dritt. Sie lesen
ihre Theorien vor, reagieren und am nächsten Tag formulieren eine
Gruppe Theorie. _____________________________________________________________________
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Arbeitsblatt 43
Am nächsten Tag tauschen die selben Gruppen ihre Theorien um. Dann
lesen sie sie fort, reagieren und in der Klasse schreiben sie in
fünfundzwanzig Worten um. _____________________________________________________________________Arbeitsblatt 44
Auf Seite 80 schreibt Tonio Lisaweta an, . . "Schelten Sie diese Liebe
nicht, Lisaweta; sie ist gut und fruchtbar. Sehnsucht ist darin und
schermütiger Neid und ein klein Verachtung und eine ganze keusche
Seligkeit."
Wie würden Sie Ihre Liebe beschreiben? Benutzen Sie Tonios
Beschreibung als Beispiel und in fünfzig Worten schaffen Sie Ihr
eigenes Beispiel._____________________________________________________________________Arbeiltsblatt 45
Am Ende Kapital I ". . . ging [Tonio] durch das alte, untersetzte Tor,
ging am Hafen entlang und die steile, zugige und nasse am Haus seiner
Eltern. Damals lebte sein Herz: . . ." (S.12) Dann lesen die Leser
die genauen Worten, die Tonio an Lisaweta am Ende des Romans schrieb.
Warum? Findet Tonio Ähnlichkeiten zwischen Lisaweta und seiner Eltern,
oder gibt es andere Möglichten, warum diese Worten Tonio so wichtig
sind? Zu Hause schreiben die Studenten in ungefähr 100 Worten ihre
Erklärungen. Morgen am Anfang der Klassse lesen die Studenten ihre
Vorschläge 10-15 Minuten vor.Warum lebte Tonios Herz "damals"? Lebte Tonios Herz nun nicht. Warum?
Am nächsten Tag in der Klasse diskutieren die Studenten, wie Tonio am
Ende des Romans sich ändern hat. ______________________________________________________________________Arbeitsblatt 46
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Erst lesen die Studenten Seite 78, wo Tonio saß im Norden und
beschreibt seine Mutter und seinen Vater. Danach lesen die StudentenSeiten 78-9, wo Tonio schreibt,"Ich stehe zwischen zwei Welten."
Tonio erklärt, daß er ist "eine Mischung, die außerordentliche
Möglichkeitenaußerordentliche Gefahren in sich schloß." Nun denken
die Studenten an was für Mishungen sie selbst sind. Sie gestehen, wie
Tonio,
Meine Mutter war . . . . .
Mein Vater war . . . . . .
Ich bin eine __________ Mischung die oder der. . .
Nun lesen die Studenten freiwillig ihre Mischungen vor, oder schreiben
sie ihre Antworten, die die Lehrin korregieren wird._____________________________________________________________________Arbeitsblatt 47
Nachdem die Studenten Tonios Brief und Lisawetas Brief, die schon von
Studenten der Klasse geschrieben wurden, gelesen haben, formulieren
die Klasse drei Gründe warum Tonio und Lisaweta zusammenbleiben sollen
und drei Gründe warum Tonio und Lisaweta nicht zusammen bleiben
sollen.
_____________________________________________________________________Arbeitsblatt 48
In der Zeitung liest Tonio unter Heitratswünsche/Bekantschaften die
folgende Anzeige: "Junge schöne kluge enttäuschte Künstlerin sucht
amerikanischen Freundkreis. Zuschrift unter W 506." Tonio ahnt, daß
das Lisawetas Anzeige ist, und er will, daß seine Anzeige in der
selben Zeitung erscheint. Lisaweta liest die Zeitung jeden Tag, und
Tonio weißt, daß Lisaweta die Anzeige sehen wird. Was soll er
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schreiben und wie beschreibt er sich? Unten ist eine Liste von
Adjektive, die menschliche Eigenschaften und Stimmungen beschreiben.
Anzeigen sind teuer und Tonio kann nur fünfundzwanzig Worten leisten.
bekümmert wütend böse köstlichhöflich gütig trostlos munter traumhaft amüsant begabt witzig
In Kleingruppen zu viert diskutieren die Studenten was für eine
Strategie Tonio entwickelt und dann jede Gruppe schreibt eine Anzeige.
Am nächsten Tag lesen jede Gruppe ihre Anzeige der Klasse vor und
reagiert._____________________________________________________________________
Arbeitsblatt 49
Welche Frasen von der Unterhaltung Tonios und Lisawetas auf Seiten 41-
42 sind entweder Aussage, Grund oder Beispiel?
1. Ja, ich verreise nun, Lisaweta ____________________
2. Sammetblauer Himmel, heißer Wein und süße
Sinnlichkeit . . . Kurzem ich mag das nicht. ___________________
3. Die ganze bellezza macht mich nervös. ___________________
4. Ich muß wohl diese nördliche Neigung von
meinem Vater haben. ____________________
5. Mit einem Worte, ich fahre hinauf, Lisaweta. ____________________
6. Ich will die Ostsee wiedersehen, will diese
Vornamen wieder hören, will diese Bücher an
Ort und Stelle lesen; . . . _____________________
7. "Die übliche," sagte er achsekzuckend . . . _____________________
8. "Versäumen Sie auch nicht, mir zu schreiben,
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hören Sie? _________________________________________________________________________________________
Arbeitsblatt 50
Wie interpretieren Sie die folgenden Textteile? Wählen Sie zwei der
folgenden Textteile, und besprechen Sie sie in Kleingruppen zu zweiern. _____________________________________________________________________ _1. Die Wintersonne stand nur als armer Schein, milchig und matt
hinter Wolkenschichten über der engen Stadt. Naß und zugig war's in
den giebeligen Gassen, und manchmal fiel eine Art von weichem Hagel,
nichtr Eis, nicht Schnee. (S. 1) _____________________________________________________________________ _2. Ja, wir gehen nun also über die Wälle! sagte er mit bewegter
Stimme. ,,Ü ber den Mühlenwall und den Holstenwall, und so bringe ich
dich nach Hause, Hans . . . Bewahre, das schadet gar nichts, daß ich
dann meinen Heimweg allein mache; das nächste Mal begleitest du mich.
(S.3) _____________________________________________________________________ _
3. Tonio Kröger stand im Wind und Brausen eingehüllt, versunken in
dies ewige, schwere, betäbende Getöse, das er sehr liebte. Wandte er
sich und ging fort, so schien es plötzlich ganz ruhig und warm um ihn
her.Aber im Rücken wußte er sich das Meer, er rief, lockte und grüßte.
Und er lächelte. (64) _____________________________________________________________________ _
4. Was ich getan habe, ist nichts, nicht viel, so gut wie nichts. Ich
werde Bessers machen, Lisaweta,dies ist ein versprechen. Während ichschreibe, rauscht das Meer zu mir herauf, und ich schließe die Augen.
Ich schaue in eine ungeborene und schmenhafte Welt hinein, die
geordnet und gebildet sein will . . . (80-81)
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_____________________________________________________________________Arbeitsblat 51
Auf S. 40 sagte Lisaweta Tonio, daß er "ganz einfach ein Bürger" ist.
Dann sagte sie ihm nach einen Moment, daß er "ein Bürger auf Irrwegen,
Tonio Kröger,ein verirrter Bürger" ist. Zu Hause erklären die
Studenten in ungefähr 100 Worten, was der unterschied zwischen
"Bürger" und "Bürger auf Irrwegen" ist. Am nächsten Tag in der Klasse
lesen die Studenten ihre Vorschläge vor und diskutieren die Meinungen
des Wortes "Irrwegen."_____________________________________________________________________
Arbeitsblatt 52
Als Hausarbeit beantworten die Student die folgenden Fragen: (1) Was
hat "Irrwegen" in Tonio Kröger mit der Bibel zu tun? (2) Was für
religiösische Aspekte finden man in dem Roman?
In der Klasse sollen Studenten kurz notieren und am Abend zu
Hause längere Absätze für die Klasse preparieren. Diese Brainstorming
Ü bung gibt den Roman größere Tiefe durch die Einbildungskraft der
Studenten als Leser im literarischen Werk (Iser, Bredella, Morewedge,
Kramsch et al).
²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²² Arbeitsblatt 53
In der Klasse identifizieren die Studenten mündlich in Kleingruppen zu
dritt oder viert wenigstens drei Gründe, warum Tonio eine Christus
Gestalt ist.?____________________________________________________________________
Arbeitsblatt 54Haben Tonio oder andere Figuren im Roman religiösischen/mythologishen
Bedeutungen? Wer? Wie? Die selben Gruppen als gestern bietet der
Klasse ein akzeptabelisches Beispiel an.
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OUTLINE I. IntroductionA. Bernd Kast and the new paradigm for teaching foreign
language.
II. Perspective and its Influence upon Texts.
A. Nietzsche and Meaning.
B. Wolfgang Iser and the readers within the texts.
C. Gadamer: Literature and Hermeneutics.
D. Bernd Kast and Paradigm Shift in Foreign Language
Instruction.
E. Saussure and Language as Sign
F. Sartre, Literature, and the Literary Text.
G. Barthes and Amodal Writing.
H. Escarpit
1. Sociology of Literature.
2. Production.
3. Kinds of Consumers.
III. Survey of German Foreign Language Communicative Pedagogiesfor the Classroom
IV. Arbeitsblätter for the Foreign Language Communicative Classroom.
Texts: Mann, Thomas. Tonio Kröger . New York: Appleton-Century-Crofts,
Inc.,1950.
---.Tonio Kröger . Ed. Elizabeth M. Wilkinson. Oxford:
Basil Blackwell, 1961.Schmidt, Gerard F. Hör Gut Zu! New York: The Macmillan
Company, 1964.e
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B.A. State University of New York at Binghamton, 1964
M.A. State University of New York at Binghamton, 1968
M.A. State University of New York at Binghamton, 1974
Doctoral Thesis
Submitted in partial fulfillment of the requirements for the
Degree of Doctor of Arts in Foreign Language and
Literatures in the Graduate School at Syracuse University
March 1997
Approved _________________________________
Date _____________________________________
CONTENTS
OUTLINE ..................................................... i
Introduction ................................................ 1
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