DOCUMENT RESUME

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AUTHOR Collins, James L. TITLE Dialogue and Resistance in Small-Group Reading-Writing Instruction. PUB DATE Apr 94 NOTE 109p.; Paper presented at the Annual Meeting of the American Educational Research Association (New Orleans, LA, April 4-8, 1994). PUB TYPE Speeches/Conference Papers (150) -- Reports Research/Technical (143)

EARS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Classroom Communication; Discourse Analysis; *Discussion (Teaching Technique); Grade 6; Intermediate Grades; Middle Schools; Public Schools; Reading Instruction; Reading Research; *Resistance (Psychology); *Small Group Instruction; *Student Reaction; Urban Education; Writing Instruction IDENTIFIERS *Communication Behavior; Communication Context; Small Group Communication

ABSTRACT A study examined a resistant student's interactive discursive practices within a participant framework. Data were taken from observations, audiotapes, and transcripts of teacher-led small group discussions in two sixth-grade classrooms at a public urban middle school. Seven visiting teachers from a university and 56 students in the two classes worked in groups consisting of one teacher and four students. The groups were asked to discuss and write in response to a series of tasks focusing on readings about people. The audiotape and transcript used to illustrate the role of the resistant student recorded a lesson from the first day of study of a 670-word excerpt from "The Acorn People." Results indicated that "resistant" students may be sufficiently competent in classroom discourse to participate meaningfully in the dialogue but choose to participate intermittently. The particular student was interested less in taking part in the discussion than in taking it apart, preferring to move in and out of the lesson, sometimes contributing to the lesson but more often opposing it. (Contains 22 references, 5 notes, and 12 figures presenting segments of the transcript. The excerpt from "The Acorn People," a transcription guide, and the complete transcript of the discussion of "The Acorn People" are attached.)(RS)

*********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** Dialogue and Resistance in Small-Group Reading-WritingInstruction

Paper presented at the Annual Meetingof the American Educational Research Association, New Orleans, April4, 1994

James L. Collins State University of New York atBuffalo

U.S. DEPARTMENT OF EDUCATION "PERMISSION TO REPRODUCE THIS Office of Educational Research and Improvement MATERIAL HAS BEEN GRANTED BY EDUCATIONAL RESOURCES INFORMATION N hTaEsR

documeCnEt reproduced as received trom the person or organizahon originating 11 C Minor changes have been made to improve reprocknon Quality

Points of view or opimons stated in this docu. TO THE EDUCATIONAL RESOURCES ment do nOt necessarily represent official OERI position or policy Introduction INFORMATION CENTER (ERIC)." My focus in this paper is on the"uncooperative" participant in classroom discourse. The uncooperativestudent has often been described as not exercisingsufficient communicative competence, as"not knowing the 'rules of the game' -- thestandard ways -- of communicating inthe classroom' (Wilkinson, 1982, p. 5). Thislack of familiarity with academic language, in turn, may be seen as partof a larger problem of incongruence between the language of home andschool (as in Heath, 1983; Delpit, 1986, 1988; Gee, 1990). This study questionsthe assumption of underused or underdeveloped communicative competenceand its connection to uncooperative participation in classroomdiscourse by suggesting that, at least in some classroom contexts,the uncooperative student maysuffer less \-4 from not knowing the rules of theclassroom communication gamethan from resisting the enactment of that game. I am using resistance in the senseof challenging authority, both the authority of the teacher and ofreified knowledge (Everhart, 1983). 2

Resistance thus means oppositionalbehavior1 and takes two principalforms in the teacher-led small groupliteracy lessons which provide thedata in the study. It shows up most frequentlyin brief comments when theresistant participant plays a different rolefrom the one assigned by theclassroom communication game, and it shows upin more extended comments where the resistance begins to take onthe character of a differentconversational game. Contrary tothe conventional view whereresistance is seen as isolated from the primary classroomlanguage socialization process, the data in this study suggest thatresistance depends on dialoguewhich is part of the primary classroom languagesocialization process. Like compliance, resistance is initiated and sustainedthrough interactive language processes. In place of the metaphor of gameplaying, Cazden (1988) compares classroom discourse to enacted drama:

Whereas utterances are psychologicalphenomena produced by a single person, speech events such aslessons are social events accomplished by the collaborativework of two or more people.In metaphorical terms, "school" is always aperformance that must be constituted through the participationof a group of actors. But only one of them --the teacher -- knows (or thinksshe knows) how it is supposed to be played, and soshe assumes the dual roles of stage director and principal actor.She is the only native speakerin the classroom culture; yet she has todepend on her "immigrant" students for help in enacting a culturallydefined activity. (p. 44)

What the metaphors of game andperformance have in common is the fact that both are constructed orscripted activities, fictions complete with plots, settings andcharacters. Enacting the performancedepends on

3 collaboration and compliance; if the teacher is thedirector and principal actor, students must cooperate infilling the other roles in the drama. Indeed, as Cazden suggests in the analogy involvingclassroom, culture, "native" teacher and "immigrant" student, compliancein enacted performances is what "doing school" is all about. If a smoothly run class is an enacted drama,then we might consider the actions of a resistant participant as somethingakin to the alienation devices of Brecht, who sought to break the spellof the drama by bringing the audience's attention to their immediatesurroundings. The very necessity of compliance in enacted drama, that is,raises the possibility of resistance in the form of breaking the spell ofthe drama. Cazden (1988) discusses this possibility in terms of "unofficial peerculture" (p. 150), "secondary adjustments to institutional expectations"(p. 153), and "oppositional processes" (p. 153). A clearer understandingof the mechanics of resistance, however, and especially ofthe way resistance is initiated and sustained through interactive language processes,is available if we use the concept of participant framework(O'Connor and Michaels, 1993; Goodwin, 1990), which refers to the ways"that speech-event participants are aligned with each other or inopposition to each other and, moreover, how they arepositioned relative to topics and even utterances" (O'Connor and Michaels, 1993, p. 321). Inschool, the default participant framework has a participant structure (Erickson,1982) with conventional interactional rights and responsibilities for teacherand student talk and conventional patterns of animation (Goffman,1981) in which speakers give each other roles and social identities relevant totheir talk. O'Connor and Michaels (1993) make the point that participantsin discourse constantly renew and sometimesrenegotiate the participant framework throughtheir

4 4 talk. Just as teachers and studentsmaintain the default framework by sustaining roles and social identitiesthrough their remarks, teachers and students can negotiate changes in thedefault framework. The possibility of adjusting the participant framework iswhat makes resistance worthwhile, and accordingly, it is where this studybreaks with the conventional view where resistance is seen as isolatedfrom the primary classroom language socialization process. Resistance is aninteractive part of the primary classroom language socialization processprecisely because it seeks to alter that process through negotiationof the participant framework, negotiation which begins with breaking the spell ofthe enacted drama. Resistance, then, is comprised ofchallenges to the authority of the teacher and reified knowledge, andthe challenges show up in student language which breaks the spell of theenacted drama, thus opposing and possibly altering the conventional participantframework in classroom discourse. In what follows, I show howthis definition of resistance describes the remarks of a student namedShajuan2 in his role as a participaat in a 30 minute small-groupclassroom discussion. At several points in the dialogue, Shajuan seems tomake inappropriate and ill-timed remarks which might be attributed to alack of communicative competence. I argue that Shajuan is not merelyinternipting the performance but is challenging it by trying on different roles,especially that of the teacher or stage manager, and byattempting to change the ongoingconstruction of a conventional classroom participant stnicture.This second perspective suggests that Shajuan possessesclassroom communicative competencebut chooses not to comply with playing astudent's role consistently or completely. He is more interested inthe mechanics of the lesson, inhow it is staged and directed, challenged andsustained or diverted, than in giving

5 5 himself entirely over to the compliant student's role that theteacher would have him play in the participant framework. Throughout the report my purpose is to show that resistance, like compliance,involves interactive discursive practices within a participant framework. Resistant students are not resistant all by themselves.

The Setting for the Study The study takes its data from observations, audiotapes and transcripts of teacher-led small group discussions in two urban sixth-grade classrooms at a public urban middle school, Central ParkScht:A.The school serves an African American neighborhood and has 600 students across two levels: an early childhood center, grades pre-K through 2, and an academy, grades 3 through 8. The small group discussions were part of the work of a school- university partnership connecting my university and Cential Park, a partnership set up to provide school-based pre-practicum tutoring and teaching experiences for graduate students and to enhance the literacy learning and college aspirations of the sixth graders. The discussions and writings took place during once-weekly classes over a period of seven months.Seven visiting teachers from the university and 56 students in the two classes worked in groups consisting of one teacher and four students. The groups were asked to discuss andwrite in response to a series of tasks focusing onreadings about people. The literary works under discussion in the data used in the larger study from which this report was taken were Langston Hughes' "Thank You,Ma'am," a short story about a woman whodisciplines a young purse thief, and an excerpt from Ron Jones' The Acorn People, anonfiction book about the capabilities of disabled children. 6

The audiotape and transcript I am using to illustrate the role of the resistant student record a lesson from the first day of study of the670 word excerpt from The Acorn People (see Appendix A). Theteacher in the small-group discussion was Gardner, a member of the university team in the school-university partnership. In his planning notes Gardner described the lesson as an exercise in close reading, inference maldngand notetaking in preparation for writing about the Acorn People excerpt.The format of the lesson, again as described by Gardner, is teaching by modeling and collaboration and consists mostly of his reading portionsof the excerpt aloud and leading discussions of what the reading meansand how to record the meaning in student notes. Before telling the class to break into small groups, Gardner introduced the Acorn Peoplelesson to the whole class, and his introduction anticipates both theperformance and the resistance enacted in the lesson, as seen in the initialselection from the transcript3 in Figure 1.

Insert Figure 1 about here

Gardner introduced the drama to be enacted and the roles tobe played by students by telling them they were about tobegin a collaborative reading project in preparation for writing. He told them the reading was difficult and added that they would receive assistance in figuring outwhat it means. He held up the page and told students to treat thematerial on it as a mystery or detective story.At this point, he acknowledged Shajuan's bid to speak, and Shajuan said that, to him, the pagelooked like a bar graph. The bar-graph remark seems innocuous, and only afterlistening to the tape

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several times did we recognize it as part of two larger patterns by Shajuan: pointing to observed items in the situational context instead of participating in the enacted drama, and imitating the teacher by doing what Gardner is doing in a different participant framework. Together these patterns comprise a kind of resistance by mimesis. Perhaps it is equally plausible that Shajuan might be sharing an observation or challenging the idea of helping to negotiate the meaning of the selection Gardner was introducing, but the continuing interaction between Gardner and Shajuan supportsthe second interpretation in which Shajuan is challenging Gardner'sauthority. After Shajuan's bar-graph comment, Gardner returned to his introduction and repeated his call for reading closely and detecting meaning. This interactive pattern -- Gardner leading and contributing to a performance, Shajuan offering a seemingly unrelated observation or question, Gardner acknowledging the remark but quickly movingback to the performance -- appears throughout the transcript, asillustrated below. I call this pattern "Initiation - Resistance - Acknowledgment"(IRA) to suggest its relatedness to Mehan's (1979)"Initiation - Response - Evaluation" (IRE) sequence and also to contrast it with a later patternof "Initiation - Resisiance - Disregard" (IRD) in which Shajuan's resistanceis ignored by Gardner. The IRD pattern of language interactionis the primary outcome of the resistant nature of Shajuan'sparticipation. Both the IRA and IRD patterns are the IRE pattern with a littlespin on it, and both situate the resistant behavior in the interactionbetween Shajuan and Gardner and not only in Shajuan's remarks. The significanceof this study, as I suggested in my introduction,resides i:this observation that resistance is as much a result of interactive classroomcommunication as compliance is. 8

The Role of the Resistant Participant The Acorn People lesson is primarily composed of the two types of substructures generally found in classroom lessons, the Initiation - Response - Evaluation sequence (IRE), and the Topically Related Set (TRS); as usual, IRE's combine to make TRS's which in turn combine to make up the whole lesson (Mehan, 1979; Cazden, 1986, 1988). Interspersed throughout the lesson are "spontaneous improvisations" (Erickson, 1982), moments of variation from the enacted performance and its overall IRE-TRS structure, and it is these moments of improvisation which provide the "Initiation - Resistance - Acknowledgment" (IRA) and "Initiation - Resistance - Disregard" (IRD) sequences. Not surprisingly, resistance is a matter of improvisation. What is surprising, though is the observation that improvisation on the part of the teacher can possibly cue resistance on the part of a student, as in the excerpt from the lesson in Figure 2.

Insert Figure 2 about here

In the improvisation in Figure 2, it is Gardner who pointed to a real object outside of the performance, just as Shajuan had done in Figure 1. Here, though, the comment is made in an aside to Tenika as the lesson was switching from whole-class to small-group formats, as indicated by the directions to open the pads for notetaking in lines 1 and 11. Gardner filled the "air space" between sections of the lesson by jokingly asking Tenika about her inhaler, "What do you use that for, keep the mosquitoesaway?" (line 5). Shajuan's answer, "We ain't got no mosquitoes this time ofyearr

9 9 indicates that he took Gardner seriously and ischallenging his question. The remark also suggests that Shajuan is awareof Gardner's real status as a visiting teacher, an outsider in the students' schooland community. This raises the interesting question of who the realoutsider is, Shajuan for placing himself on the periphery of the discussioncircle, as we shall see him do repeatedly in what follows or Gardnerfor coming to the school from another community. Because Gardner'soriginal comment was addressed to Tenika but answered first by Shajuan,Shajuan was speaking out of turn, a fact which risksimpertinence but also adds effectiveness to his challenge. Gardner admits he was onlyjoking and thus acknowledges Shajuan's challenge, possibly acquiescing to it inthe process with the admission that "I know/ I'm just being a wiseguy." Meanwhile, Tenika answers his original questionabout the use of the inhaler by saying, "Because I have allergies..." (line 9). It seemsclear that Shajuan was opposing Gardner, since his remark offers afactual correction to an apparently inaccurate assumption Gardneris making. This interpretation of opposition is supported by comparingShajuan's and Tenika's responses to his remark. Tenika also takesthe joke literally, but her answeris more compliant than that of Shajuan because it answersthe question instead of correcting it. The pattern of dialogue I called"Initiation - Resistance - Acknowledgment" is evident in this exchangebetween Gardner and Shajuan. In the exchange with Tenika, the patternis more "Initiation - Complidnce - Acknowledgment" which, of course,is another name for the conventional IRE sequence. Figure 3 presents another improvisationinitiated by Gardner, this time congratulating Tasha for putting thedate on the page she is preparing for writing.

I 0 10

Insert Figure 3 about here

This improvisation can be said to come right after the earlier one,since the material in the transcript between the end of Figure 2 and the beginning ot Figure 3 consists of brief, unrelated remarks expressed as part of getting ready for the upcoming academic task. Because Gardner beginswith two informal improvisations, we can infer that he is setting a tone of informality and friendliness for the lesson he is introducing. Shajuan, however, takes Gardner's praise of Tasha as a personal oversight.If we read down his column in Figure 2, we see that he is expressing a senseof having been overlooked by Gardner. He seems to be setting himself up as a victim of disregard, especially in his "I don't get nuttinr commentin line 24. Perhaps he is joking in Rodney Dangerfield fashion, buthis intonation here suggests that he is serious in claiming that his academicefforts typically are not recognized. The fact that Gardner is talkingmostly to Rainier while Shajuan is complaining seems to reinforce Shajuan'sclaim and to anticipate the genuine disregard that will come laterin the lesson. Even before the lesson really gets going, Shajuan seeshimself near the outside of the discursive circle, off center stage of the performance or near the boundary of the participant framework, and thisbelief becomes more credible to us because Shajuan expresses it while Gardneris busy bringing others into the circle. In Figure 4 Shajuan suggests thathe is too accomplished a speller to need Gardner's advice to use the textbeing studied as a guide to spelling, and here again Shajuan seems tobe setting himself apart from the other students.

11 11

Insert Figure 4 about here

The contrast between Shajuan's comment ("Now, if you don't know how to spell a:cornr line 37) and Tenika's questions ("Should we put the author? Do you want the author?" line 35), together with Gardner's spealdng to each of the other three but not Shajuan, reinforces the perception of Shajuan as outside, or at least on the periphery, of the discourse. If indeed Shajuan is setting himself apart from the group, then it is also true that the others willingly comply in establishing his isolation. I don't want to give the impression, however, that Shajuan moves to the outside of the circle and stays there. A truer depiction of his resistance is available if we notice that he repeatedly moves in and out of the dialogue. His movement back into the center of the discourse is evident in Figure 5 where he is a contributing member to two of three IRE sequences

Insert Figure 5 about here

In the two IRE sequences in lines 61 - 69 Shajuan is doing exactly what Gardner wants. He is reading the text closely, making inferences about the reading, and supporting the inferences with evidence from the text. Clearly at this point Shajuan is an active, communicatively competent participant in the discourse. His resistant behavior has temporarily abated, and his remarks resemble those of Rainier who answers Gardner's question in the next IRE sequence. Gardner acknowledges Shajuan's contribution by positively evaluating reading ahead in line 69. Notice, though, that it is 12

Rainier's remark ("Because when they say straight up/," line 71) that Gardner selects to be written down as the second item in student notes. The suggestion implicit here is that reading ahead may not be such a good idea after all. We might be tempted to infer that Gardner values Rainier's contribution more than that of Shajuan in Figure 5. That pattern, however, is not present in Figure 6 where Shajuan is seen again in the role of cooperative student.

Insert Figure 6 about here

This time Shajuan's remark is immediately acknowledged by Gardner in line 146, just as Rainier's was in line 144. Perhaps Gardner is welcoming Shajuan back into the circle of participants, but it is more likely that he is simply selectively acknowledging student remarks in both Figures 5 and6. In Figure 6 Shajuan's question in line 145 is a revoicing of Rainier's inline 143, and both Gardner (line 146) and Tenika (line 152) revoiceShajuan's version of the question and add that it deserves to be written down. O'Connor and Michaels (1993) demonstrate how such revoicings advance intellectual socialization by coordinating academic task structure andsocial participation structure. The revoicings thus suggest that Shajuan is a full contributing student member of the small group at this point in the discussion of the text. Even in the midst of the revoicings, however, Shajuan seems to shun the role of compliant student in the participant stnicture when he does some revoicing of his ownin line 148, "Yeah/ Put that down please/ [To Tasha] Don't you push me, OK?." HereShajuan

13 13 takes on the role of the teacher by revoicing Gardner's instruction to write the question in their notes, and then he immediately steps out of the performance by telling Tasha not to push him. Is Shajuan demonstrating a lack of communicative competence here by attempting a different role and then stepping out of the drama entirely? Perhaps, but I think it is more likely that he has found himself so close to the center of the discursive circle that he can risk having a little fun. At any rate, he offers resistance to the flow of the dialogue, and his remarks have theeffect of moving him away from the center of the participant structure.Gardner's final revoicing of the Who and Why questions in line 153, "Yeah/ And why/ Who would want to go up the mountain in wheelchairs and why/ Good/ Yeah/" repeats both Rainier and Tenika, but not Shajuan, suggesting that Shajuan has successfully moved off center stage once again. In the remainder of the transcript Shajuan attempts to repeat this pattern of moving out of the circle of dialogue andthen moving back in. In Figure 7 he discusses the tape recorder again.

Insert Figure 7 about here

Gardner asks a question about the second character the group encountersin reading the excerpt, and the three compliant students answer,"Carry people", which is a revoicing from the text. Shajuan's comment on his spelling ability in line 182 and his brief subsequent silence seems toplace him outside of or on the periphery of the discussion. Gardner evaluatesthe answers of the compliant three as correctby repeating "He wants to carry people' and adding another question, "What do we know aboutDominic/

14 14 therefore?" line 187. In interview data Gardner statedthat he wanted the students to reason from the premise of Dominic'soffer of carrying others to the conclusion that Dominic is nothandicapped, but he had not told the students that they were supposed to be classifyingall the characters into handicapped and non-handicapped categories. As aresult, Gardner's question has the appearance of a "closed" question,and Tenika and Tasha seem to be guessing atwhat Gardner has in mind when they answer"he's helpful" in lines 188 and 190. At this point, line191, Shajuan introduces a closed question of his own, "Will you put these inthe laboratory?" and Gardner tries to guess what's on his (Shajuan's)mind. This questioning and guessing goes on for a few lines, untilShajuan expresses his question less formally, "Will y'all put that in the boombox?" in line 196. Like the bar-graph comment earlier, this one opposes theunfolding of the lesson by indexing a real object, the tape, in the classroom,but this time the question has the same form as the teacher's questioning.If Shajuan is again challenging Gardner's authority and temporarilyaltering the participant structure, he is doing so by exactlyimitating the format of Gardner's own question. This is another example of resistanceby mimesis, with the roles of teacher and student, questioner andanswering party, becoming momentarily reversed. The data suggest thatShajuan's question is a successful opposition to the performance of thelesson, as seen by its fitting the "Initiation - Resistance - Acknowledgment"(IRA) pattern I introduced above. After the portion of the transcript in Figure7, Shajuan remains silent for more than five minutes, with theexception of one brief comment& In Figure 8, he presents anotherimprovisation, one which seems to have evenless to do with the lesson than the excerptin Figure 7.

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Insert Figure 8 about here

Gardner stated in an interview that he had noidea why Shajuan suddenly asked, "Who was our president backin 1976?", a point that is also evident in Gardner's response to the questionin line 281, "I don't know/why do you want to know that?" Observationaldata suggest two possible reasons for the question. First, acalendar with information about American presidents hung near Shajuan's seat,suggesting that this improvisation is, like the others, an indexing of anitem in the situational context. Second, Gardner's lastquestion, in line 269 of the transcript, had a similar format toShajuan's: "Aaron had a similar plan to/ whoseplan?" This would seem to be another example ofresistance through reversing the roles of teacher and student and imitatingthe format of one of Gardner's own questions.Gardner explained in an interview that his last commentin Figure 8, "Lookit/ Let's worry about Aaron/OK," was meant to get the lesson back on track. In the excerpt in Figure 9, Shajuan makeshis clearest statement that he is participating in the lesson reluctantlywhen he says, "I want this story o:ver/ yesP' (line 296).

Insert Figure 9 about here

This time the item indexed is the storyitself, and the message is that Shajuan has grown tired of the lesson.Notice that Tasha asks him to stop, though we are not sure whethershe means stop complaining orsomething

1 6 16 else. Tenika goes right on compliantlyplaying the role of detective when she infers from Gardner's reading thatMartin can walk. As the following diagram suggests, in terms of our metaphorof a discursive circle to represent the participant structure, we can sayin the left circle (1) which represents the beginning of the excerptin Figure 9 (lines 293-297), Gardner and Tenika are near the center,Tasha is looking outward toward Shajuan who is outside the circle byvirtue of his commenting on the activity going on within it (as distinctfrom Rainier who is within the circle by virtue of his silence at this point).The participant framework changes to the circle on the right(2) with the exchange between Shajuanand Gardner at the end of Figure 9, "[ToGardner] Man/ you should go on/ [To Shajuan] Tenika says Martin can walk/."As both parts off the diagram illustrate, even when Shajuan is outsideof the circle, he interacts with people within it.

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In Figure 10 Shajuan steps back inside the circle by asking a question relevant to the discussion, "What kind of mountain was thit?"

Insert Figure 10 about here

Shajuan may be within the discursive circle here, but he is not a cooperative member of the participant structure. He first criticizes Tenika's addition of "Why?" to his question (lines 319-320), and then he gets into. a debate with Tasha over who deserves credit for his question. His criticism and the debate have the effect of momentarily changing the participant structure. Shajuan tries to establish himself, once again, as the under-respected contributing member of the discursive circle, as he had done with his "I don't get nuttinr comment in Figure 3. Gardner dismisses the importance of Shajuan's claim to the question, "What kind of mountain was this?" just after the excerpt in Figure 10 by firstsaying, "OK/ so we got that established" (line 331 of the full transcript) andthen laughing. This exchange suggests that once Shajuan has taken himself too far out of the circle, he has trouble getting back in. Members of the group become accustomed to ignoring Shajuan, except in this case for Tasha who gets into a brief argument with him. Shajuan is sentthe message that he is not being taken seriously by Gardner on group business. The debate exchange, in other words, is not the officially sanctioned performance, and Shajuan's alteration to the participant framework is a short lived one. This is an example of the IRA and 1RD patterns I mentioned in the introduction. Gardner initiates a discussion, Shajuan resists by asking a question of his own, and Gardner acknowledges thequestion, giving the IRA pattern. 18

Shajuan then turns his question into another form of resistance, a debate over who should get credit for asking thequestion. Gardner lets the debate go on for a moment, then dismisses it asunimportant, completing the IRD pattern. Figure 11 shows an even more extreme caseof the IRD pattern because this time Gardner does not even allow Shajuan to break into the discussion.

Insert Figure 11 about here

Ignoring or disregarding an improvisation, regardless of whether the improvisation is resistant or compliant, is itself a form of resistance. An improvisation is more than a bid to speak; it is a bid to change the subject of discourse and the participant framework. Figure 12 shows what can happen when a student's resistant improvisation is not resisted by the teacher and other students.

Insert Figure 12 abc sit here

In this excerpt, Shajuan manages to successfully compete withGardner for control of the discussion. His success is probably attributable to an interesting question, "Hey/ what do I want for Christmas?," line483, and to the device he uses of pausing as if to wait for an answer and thenanswering the question himself: "How bout a Jacuzzi?/ Yeah I want a Jacuzzi!"Tasha and Gardner are drawn into conversation with him, and Tashamaintains her role in the conversation, even after Gardner goes back to themain line of discussion after Rainier's question, "Who carried Phillip?" inline 492. is - ...I.- .

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This time the participant structure has more than thebrief alteration we saw in the diagramaccompanying Figure 9. For several lines(493-498) the participant structure becomes split into twodiscussion circles with Gardner leading one and Shajuan leading theother:

(Gudner Shajuan 4* Tasha Tenika Rainier

At the end of the excerpt in Figure 12,in line 499, Gardner attempts to re-unite the two circles bycapitalizing on Tenika's question asked in lines 496-500: ,

LineGardner Tenika , 496 Wait a minute/ 497The narrator carried Thomas/I got a question/ 498 What is the narrator's name? 499Here's/ HERE'S A GOOD I UESTION/ sait/ 500 What is the narrator's name.

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The attempt to re-unite the two circles is successful, as we see in Figure 13, not only because Gardner spoke it in a loud voice, getting everyone's attention, and not only because he turned established that it is Tenika's turn to speak, but also because Shajuan chooses to answer Tenika's question:

Insert Figure 13 about here

Shajuan identifies the narrator as the author of the story, and thus brings the two circles back into one. This earns Gardner's praise in the last line of the transcript: "Man/ that's good thinking!" Throughout the transaipt, Shajuan breaks the enacted drama of the class, the detective-game inquiry into the meaning of the text, comprised of reading, taking notes, inferring meanings and constructing an understanding of the text. Shajuan is not part of the performance. He is concentrating on the reality of the situation, the visiting university people, the re-structuring they have brought with them, their equipment, their work. At the level of re-voicing, Shajuan looks very much like the others. At the level of content, he seems to focus on his own interests and his intention seems to be to satisfy his own curiosity. In the final analysis Shajuan is a resistant participant, but a participant nonetheless because he sufficiently understands the communicative demands characteristic of school. He just doesn't care to play the game.

Conclusion Following such theorists as Vygotsky (1934/1988) and Bakhtin (1975/1981), and in company with proponents of collaborative, constructivist, inference-based approaches to literacy learning, current

21 21 approaches to literacy instruction recommendincreased use of dialogue as a mode of classroomdiscourse. A greater role for classroom dialogue is an essential part ofmoving, for example, from whole-class tocollaborative instruction, from a code-based theory of communication to aninference- based theory, and from tansmissionist methods toconstructivist ones. But what about the uncooperative student?This study suggests that such students may be sufficiently competent inclassroom discourse to participate meaningfully in the dialogue but choose toparticipate intermittently. Shajuan, the resistant student in thestudy, shows very little interest at times in the fiction of a detective-gameanalysis of text. The three other students are willing participantsin the game, especially Tenika and Tasha. Rainier picks his spots morecarefully, but he too is a willing. participant and contributes to the progress of thediscussion5. Shajuan, however, is interested less in taking part in thediscussion than in taking it apart. He deals with the discussion as asocial reality; for him, the discussion is a problem to be solved or acompetition to be won. For the teacher in the study, the discussion is afictional performance for practice in text analysis and word manipulation,and the compliant three students willingly play along. For them, the dialogueis a conventional school exercise they have seen many times, and theytake their roles and play out the drama. Shajuan, too, has seen the gamebefore, but for him it is not a game he wants to playconsistently. He prefers to move in and outof the lesson, sometimes contributing to the lessonbut more often opposing it. We cannot be sure of the reason for hisresistance, but we can notice that it both uses and opposes the interactiveparticipant structure of the lesson.

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James L. Collins is associateprofessor of education at theState University of New York at Buffalo.

Footnotes 'In making resistance equivalent to oppositionalbehavior, I am not completely excluding the additionalcriterion of sociopolitical significance required in other definitions ofresistance (for example, Willis,1977; Giroux, 1983; Solomon, 1992).Rather, I am viewing sociopolitical significance as a matter of intentionbeyond the scope of this paper. 2A11 names are pseudonyms. 3The multiple-column format of transcripts inthis study is a modification of Ochs, 1979. SeeAppendix B for transcriptionguidelines and Appendix C for the fulltranscript of the small-groupdiscussion. 4The comment was "I THINK SPIDER ISIN A WHEELCHAIRP' spoken directly into the taperecorder in line 250 of thetranscript. 5The possibility that Rainier's prolongedsilences are another form of resistance is beyond the scopeof this paper.

References

Bakhtin, M. M. (1981). Thedialogic imagination: Four essaysby M. M. Dakhtin. (M. Holquist, Ed. andC. Emerson & M. Holquist,Trans.). Austin: University of TexasPress. (Original workpublished 1975) Bloome, D. & Theodorou, E.(1988). Analyzing teacher-studentand student-student discourse. In J.L. Green & J. 0. Parker (Eds.),Multiple

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perspective analysis of classroom discourse (pp. 217-248).Norwood, NJ: Ablex. Cazden, C.B. (1986). Classroom discourse. In M. E. Wittrock(Ed.), Handbook of research on teaching (3rd ed.) (pp. 432-463).New York: Macmillan. Cazden, C. B. (1988). Classroom discourse: The languageof teaching and learning. Portsmouth, NH: Heinemann. Delpit, L. D. (1986) Skills and other dilemmas of a progressiveblack educator. Harvard Educational Review, 51379-385. Delpit, L. D. (1988) The silenced dialogue: Power andpedagogy in educating other people's children. Harvard EducationalReview, 5_a, 280-298. Erickson, F. (1982). Classroom discourse as improvisation.In L. C. Wilkinson (Ed.), Communicating in the classroom (3rded.) (pp. 153- 181). New York: Academic. Everhart, R. B. (1983). Reading, writing and resistance:Adolescence and labor in a junior high school. Boston: Routledgeand Kegan Paul. Gee, J. P. (1990) Social linguistics and literacies:Ideology in discourses. New York: Falmer Giroux, H. (1983). Theory and resistance ineducation: A pedagogy for the opposition. South Hadley, MA: Bergin andGarvey. Goffman, E. (1981). Forms of talk. Philadelphia:University of Pennsylvania Press. Goodwin, M. H. (1990). He-said-she-said: Talk associal organization anigng_hlackghadign. Bloomington, IN: Indiana UniversityPress. Heath, S. B. (1983). Ways with words:Language. life, and work in communities and classrooms. New York:Cambridge University Press.

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Jones, R. (1976). The acorn people. New York:Bantam. Mehan, H. (1979). Learning lessons. Cambridge,MA: Harvard University Press. Ochs, E. (1979). Transcription as theory. In E.Ochs & B. Schieffelin

(Eds.), ..,siglQpinc.n 1 zmr_gg,inti (pp. 43-71). New York: Academic Press. O'Connor, M. C. & Michaels, S. (1993). Aligningacademic task and participation status through revoicing: Analysis of aclassroom discourse strategy. Anthropology and EducationQuarterly, 24,318-335. Solomon, P. (1992). Black resistance in highschool: Forging a separatist culture. Albany: State University of NewYork Press. Vygotsky, L. S. (1988). Thought and language.(A. Kozulin, Ed. and Trans.). Cambridge, MA: MIT Press. (Originalwork published 1934) Wilkinson, L.C. (1982). Introduction: Asociolinguistic approach to communicating in the classroom. In J. L. Green & J.0. Parker (Eds.), Multiple perspective analysis of classroomdiscourse (pp. 3-11). Norwood, NJ: Ablex. Willis, P. (1977). Learning to labor. New York:Columbia University Press. figure I. Teacher introduction of the Acorn People lesson. gonnaTrManother help you tough7;c7 readMac it/ er:We're gonna :ielp you read it/ we're gonna help ar ner o dimr1=Zrea 1 but don't worry because we re tu ent 1: hauan iou fi: _AireourlittleyourAndifieli groups/out/ thinkingabout we're next this I wantthat onnaweepiece went you whelp of en please intowriting/ youyou this/ taketocome OK?/ thinkall notes ofto Rightof yourthe about this university prewriting/now/ as it/ a mysterytoday/ you and when story/ you'll we as writeget a into a have all o detective sto co a uan / o. r A)page(Referring Those Gardner look to is liketffe holding columnstwo big up, blocksofas textin Appendix hion a the bar ---NreLear s a 1 lot ra of1 n:g_.1p__wri titIgits pag. you 1.e right/ it's kind of packedoo 1 e two sig I oc on e paragrap rom w ere you are ( o:rally' oo e a oar :ray what'sTreatandBut/together/ to you this helsloin know/ as I aon/ 1 we'reetective OK? not story here toge to make it easy/ we're here to make it tough ou :et the 'ob done/ r in our groups we I igure out 27 25 figure 2. Teacher "mosquitoes" improvisation. 1 Line 1 cleanTeacher.OK/ page/ Open Gardner your pad to a J Student 1: Sha'uan Student 2: Tasha 11 Student 3: Tenika Judent 4: Rainier OK.reading?toDo take you, We're notes do gonnayou on knowyour take how OpenYe: your :s/ pad/ I Yes/ morning/notes on our reading this , 5 mosquitoesuse[To that Tenika] for, away? keep What the do you mosquitoesWe ain't got this no time of 97 wiseI know/ guy/ I'm just being a TheYead Acorn People/ Because I have allergies 1110 I OK/Oh,in that yourTurn helps padto a here/ allergies?clean page nose/and I put that into my 2 0' 2 9 26 LineFigure 3. Student "get nuttin" improvisation. Teacher. Gardner 1 Student 1: Shaivan Student 2: Tasha II Student 3: Tenika Student 4: Rainier 19 idea/dateclean[ToFollow Tasha] onToday's page? alongit/ That'sDo Yeah/ 11/5/921with you a haveme/goodPut the a i 2021 Tasha]See how What's she did? your [To name? Tasha/ Tasha 2322 PaPedputtingforTashal theputting day/Tasha,your your date you name, on get the "A" Mat? (OLFD 242625 :: I ? I don't get nuttin/ Ub huh . 2827 you[To writeRainier] darker Why than don't that? I could get one Cuz, that's bow he writes , 313029 OK/[To Rainier]Shajuan] Man, No, that'syou I don't :et a "A" ? ((LI)) , 32 OK?pickListen[Todon't Rainier] uppress to your this/ hard That'sstory Pick enough/ now/OK/ up, 3 3 i Figure 4. Student comment from "outside" the discursive circle. 117-1 Teacher: Ga.dner33 "ReadwithYou ready?me the as following I Follow read/ It along says, Student 1: Shajuan k Student 2: Tasha 11 S tudent 3: Tenika j Student 4: Rainier 34 acornEwaParagraPhsitPut right bypeople/down Ron off from on of OK/Jones"! your hereThcACCO Copy pad,so you the 3536 acorngetRight, the people spelling the acorn right/ people The is DoShould you wewant put the the author? author? 3837 the[To name Tenika] of the Don't,story/ don't howNow, to if spell you don'ta:corn/ know 39 bother[Togotta Rainier]being be quick, so Alright, neat. OK? You now . 40 Right[Toniceyou'reRon Tenika]and here/ doingJones/ dark. "Ron The good/ author?Jones"! That's 414342 Tasha,author[To ofTashajright/ this writin Who's : ?the ((l-F))Tasha/ 3 c ' 33 28 Figure 5. Student participation in IRE sequence. Line 61 II Teacher: Gardnerup"/halfRcady? mileWhy It looked saysdo you "The straight suppose final I Student 1: Shajuan Student 2: Tasha II Student 3: Tenika _I Student 4: Rainier 6362 it looked strai :ht u ,? TheyAnd was plus going it looks up akinda hill/ a mountain/Because they was going up 64 knowhill?[To they'reShajuan] going How up do a you stee . 656766 [To Shajuan] Oh, you're hillside/"ThesaidBecause/ that/ final of it grade slatesaid/ rock" wasum/ a it 706968 readinreading[To Rainier]Shajuan]. aheadahead/ ((LF)) Good/How You're do you and loose graver/ 7271 mountain?know they're going up a snai:htBecause u when they say 73 OK/knowAnd//Yeah,the Putthe finalthat straight down,summit/ word half put up]milesummit/ You down is And the summit/ , 7574 Yeah/straight up/ 3 ; Number two? 3 5 29 figureLine 6. Student and143 teacher revoicings. Teacher Gardner Student 1: Shquan Student 2: Tasha Student 3: Tenika Who'dStudent want 4: Rainier to go up a 144 That'squestion!Who would/ good/ Put That's that down! awhat key wheelchairs?mountain with 145 wheelchairs?thisWhothe writermountain would makes want with usto think/go up Why would they want to 146 wouldWhyRight/ would they?Put that they? What down/ Why kind of wheelchairs?go up a mountain with 147148 wheelchairs?goWhya people up would this is mountain this? they want with to Yeah/ Put that down 150149 answerBefore we'rethat question, done./ we'll OK? please/you push [To Tasba]me, OK? Don't ...) really long sentence/ 151153152 Yeah/ And why/ Who whyAnd too/why/ We should put 3C mountainwouldand why/want in Good/towheelchairs go up Yeah/ the 37 LineFigum 7. Student "boom box" improvisation. Teacher: Gardner Student 1: Sha'uan Student 2: Tasha Student 3: Tenika Student 4: Rainier 183182 Ever since ou were what? actuallyfour/I learned ever how since to Ispell was ottr 185184 whatOK/is Thenameddoes second he Dominic/ wanna character do? and Carry people/ I le/ 188187186 WhatDominic/He dowants we therefore?toknow carry about people/ He's hel ful/ C. '4.1 Ile/ 190189191 He's helpful/ and/ laboraWill you put these in the ? and/ he's hel, ful and/ 194193192 What's a laboratory? be/Thelaboratory?Will urn/ thing you workin allwhere put and youthis allin the 195 laboratory?We put this Whatin the dya developin stuff/i_.21.../ Uh/ She 198197196 Oh/mean. the 9 tape you mean. boomWillYeah/ y'all box? put that in the 3L2 3) 31 figural. StudentEine "president" improvisation. Teacher. (bather Student 1: ShaUan Student 2: Tasha Student 3: Tenika Student 4: Rainier 275 Aaronthere'Not"Thomas`I'll me,on watch.m/had someone's I'mnixed a similar not the going idea,back.plan, up 276277 OKThomas/Aaron agrees I'll justwith watch/ isSoThat probably/ that means means that/probably that Aaron/ is 278 not in a wheelchair simibrsaidwheelchair/Nol AaronI'll elan/probably probably that's havewhy ii ahein a 280281279 Right/wantI don't put to know/why knowthat down/ that? do you backWho wasin 1976? our president cuz/ um 284283282 Aaron/Lookit/((LF))/ OK) ILet's don't worry Ithow/ about knowBecause that I just want to ((LF)) ((LP))

, 4 1 32 Figure 9. Student "I want this story o:ver" improvisation. Line 294293 Teacher.Tellmore/along!OK/ youHere we'll Gardnerwhat/ we read go/ Why aFollow little don't Student 1: Sha'uan StudentUh huh/ 2: Tasha Student 3: Tenika , Student 4: Rainier 296295 endI readWhat?time/ of athe wholeOK? Should paragraph? You chunk I ready?read this to the o:ver/(...)/Like 1a yeswantchunk this is (...)story 298297 talking"SpiderHere I go! wildlyand follow Benny about along/ were a it/(...) would you/ like/ stop moveddeliberationclimbersmoviethings/ theyseveral used During sawMartin ropes feet in our whichup hadand the 302301300299 Well/Martin/hill without let's see our if noticing"!Martin MartinMartin/ can walk/ 303304 Martincan[To walk/ Shajuan] can walk/ Tenika says should[To Gardner] go on/ Man/ you 42 43 33 Figure 10. First student attempt to get back into the discourse. Line 308 theirstill"...ThomasTeacher: doubtful. wheelchairs Gardner and Leaving Aaron was notwere Student 1: Sha'uan Student 2: Tasha Student 3: Tenika Student 4: Rainier I 309310 an easy thing to do." wasWhat this? kind of mountain inare./So/ wheelchairs/ Thomas and Aaron are/ 313312311 Well/wheekhairs/Thomas we and know Aaron Martin are m whatWhat kindkind ofof mountain/ And Martin/ 315314 can't walk/ the re: lar wa downI know/ for yeah/ a question let's put that kindWhat of kind mountain of wheel/ is this?what 317316319318 kindPut of the mc,,intain question/ is whatthis? Man/ she always gotta add We don't have to/ And why/ 321320 this?!What kindis a good of mountain question is question/Iher camethank stu lidup on sowith y'all the should/ 322323 first?DidExcuse you me/ hear Dr. when Gardner/ I said it itl 324327326325 I saidthen it she/ first/ then she told me No/thenI/ I didn't he said/ then ou said/ I didn't 328330329 4'OK/ ThenmountainI said/withYou she what knowit had is kindthis? askedthat of I cameyou/ out I know 45 Figure 11. Second student attempt to get back into the discourse. , Line 426 Now/Teacher is GardnerMartin a Student 1: Sha'uan ' Student 2: Tasha Student 3: Tenika Student 4: Rainier 429428427 know?wheelchair person/ do we No We don't blow Yes/No/ 430433432431 LookMartin?What's at your it say clues/ about We don't know that/ BecauseYesYes/ Martin dragged 434 technique/Mar/ Martin right/ invented the them/himselfum/ everybody idea up/ andto do he elseit gave the/ 436435437 mountainMartinKids invented invented climbin it/ itbut :for this Dr.Guess Gardner?Gardner?! what? Oh my god/ this is like a No/ kids invented it/ , butstory/ not on television/ 439438 person/MartinNow listen/ Iis gUeSS/ a wheelchair Mar/ Martin/Hey I was talking about no CUZ 441440442 BecauseBut he's what?also strong/ 1 _go up theHehe started/startedmountain/ the technique to Figure 12. Student "Christmas" improvisation. Line 480 Teacher:heBecause carries Gardner be Thomas! helps Thomas/ Student 1: Sha'uan . Student 2: Tasha Student 3: Tenika rSWdet4. er 483482481 On his 1 Christmas?Hey/ what do I want for slowlBecame while he carries writin (spoken 485484 IHow want bout a Jacuzzi! a Jacuzzi?! Yeah We have a Jacuzzi at our . 487486 You do? Jacuzzi/bathtub/Uhhouse) huh/ butit's younotlike reallyjusta press a 488 Cool tohouse/Hey/ have I gotI'm one ajust Jacuzzito msaying self/ at thatmy comethe out/thing and the bubbles 489491490 OWinKay/ it? you'll what?! Chill onSee/ Frida I can nigo ht/and chill in it ((LF)) Several students talk 495494493492 WhoMartin carried carried Philli Aaron .? Continue talkin : about bathtubs and Jacuzzis Um/ Martin carried him/ Who carried Philli ? 498497496 Thomas/The narrator carried (Continue Continuetalking about talkin bathtubs about bathtubs and Jacuzzis) and Jacuzzis Waitname?WhatI got a minute/a is question/ the narrator's The narrator/ 500499 Here's/ here'suestion/ a good sa it/ name?What is the narrator's 36 Figure 13. Final student participation in IRE sequence. Line 500499 Tquestion/Here's/ here's say ita good her...Gardner Student 1: Shajuan Student 2: Tasha WhatStudent is 3:the Tenika narrator's Student 4: Rainier 1 502501 name.whatThe uestion9is the narrator's is Ron Jones name? 503504 Theknow[To answer Shajuan] that? is Ron How Jones/ do you Becausethe book/ Ron Jones wrote 506505 thinkinShajuan)isPutRon the that Jones nanutor/ down/ Man/ wrote [ToRonthat's the Jones stogood . 51 37 38 Appendix A Eicerpt from The Acorn People

Directions: Read the following placed Spider in his lap. Using belt buckles and safety straps from the wheelchairs I tied paragraphs from The Acorn People by the two together. Dominic tried a few rows up Ron Jones. Tell what you think is the hill. It worked.Spider strapped to happening and describe the people in Dominic's stomach gave both of them the the story. opportunity to look down the hill as they inched upward. It also freed Dominic's legs and arms for the hingelike movement and balance necessary to squeeze up the hill and not slip back. Benny was next in line. He After our succession of ceremonious wanted to try it by himself. In a trial effort he starts and stops, we reached the fmal grade to worked his way up the hill and right out of his the summit. We had covered over two-and-a- pants. At his insistence we tied a pillow from half miles. The final half mile looked straight one of the chairs to his butt He was ready. up. More forbidding than the incline, With his strength he just might be able to drag however, was the deterioration of the trail. It his body the distance. Martin and Aaron were simply stopped. The fmal grade was a hillside next. Martin's confidence helped Aaron. In a of slate rock and loose gravel. There would be sitting position Martin shaped his body and no way to pull or push the chairs up this. The legs into a lap. I gently placed Aaron against wheels simply spun around for lack of Martin and bound them together. Thomas and traction. Spider called this place I were at the end of the ladder. I sat on the "Desperation," but no one laughed. Dominic ground in front of Thomas and pulled him first suggested, "How about us trying to carry out of the chair and onto me. We twisted and everyone?" Thomas nixed the idea, "Not me, rotated until both of us were comfortable. I'm not going up there on someone's back." Then tied ourselves together. Aaron had a similar plan, "I'll watch." Spider Like a caterpillar we edged our way up and Benny were talking wildly about a movie the slate. The loose rock gave and slipped into they saw in which climbers used ropes and pockets that could be used as footholds. Our things. During our deliberation Martin had trail looked like a smooth slide bordered by moved several feet up the hill without our tractor-like gouges. 1 thought to myself how a noticing. He called down to us, "Hey, you hiker someday would discover our tracks and guys, it's easy." Martin was sitting down, the Santa Cruz Mountains would have facing downhill. By moving his legs under evidence of its very own Bigfoot. Martin's him in a squat position and then pushing back, invention was marvelous. Who would have he edged up the hill in this sitting posture. He thought of going up hill backward, sitting on looked like he was rowing a boat. Only our bottoms? We moved in a syncopated instead of rowing across water he was literally rhythm. First the legs pushing against the hill, rowing up the hill on his bottom. Using legs followed quickly by a push with both hands. and arms in an accordion fashion, he made We would stop to rest and then continue. steady progress. Benny was delighted, (Observing the valley floor below us, we saw "Martin, you're amazing." Spider added to the tree line slipping beneath our vision, aware the compliment, "Make sure that man gets the that we could now see valleys moving away mountain cross." Thomas and Aaron were from our vantage point like huge green still doubtful. Leaving their wheelchairs was waves.) At two o'clock, according to Spider, not an easy thing to do. we reached the top of Lookout Mountain. He After a long debate, and several gently gave the mountain one of his necklaces. demonstrations by Martin, we decided to make Not the act of a conqueror, but a friend. We the ascent. Dominic sat against the hill and I had done it.

52 39 Appendix B

Transcription Guide (Modified version of Ochs, 1979, pages63-65)

What to Mark How to Mark

1. Utterance boundary I placed at end of utterance 2. Pause length Minor puses not marked; utterancesseparated by significant pauses are placed on separatelines Overlapped utterances go on same line - 3. Overlap 4. Intonation ,marks low rise ? marks high rise .marks low fall I marks exclamatory utterance place ,.?! at end of utterance : marks extendedvoicing of sound capital letters mark increased volume: example: YOU SILLY/ marks stress example: I want that one/. (()) marks other voice qualities, e. g., examples: ((LF)) laugh ((WH)) whisper ((CR)) cry ((WH)) whimper

5. Intended addressee [To person] marks an identifiableaddressee example: [To Jose]

6. Quoted or read material "quote" marks material that is beingquoted or read example: It says, "Read the followingparagraphs from lk Acorn People by Ron Jones"/ transcriber 7. Clarifying comment (remark) marks a comment inserted by Example: "two and a half miles" (spoken slowlywhile writing ]

8. Metatranscription marks () unclear reading, no hearing achieved (word) tentative reading

53 Teacher Gardner Appendix C Transcript of "Acorn People" Small Group Discussion DocleanOKIreading?to you, take Openpage/ do notes youryou on knowpad your to how a Open your pad/ . OK. We're gonna take Ye: :s/ j!iorninglnotesmosquitoesuse[To on thatTenika] our for, reading away? Whatkeep the dothis you 7 wisegutI know/ /rm just being a mosquitoesWe ain't got this ear/no time of 108 [To Tenika] Oh, that helps The Acorn Pee. e/ andhave[To Gardner]I allertesput that Because into my I 1112 IL oti_21,adalleirgies? OK/here/ Turn to a clean page What's the date? nose/ 16151413 We[To wrote Rainier] on i Where is ri:ht. ThHe's , :ot white/ ril t. 1817 yourOK/Ohdidn't writing, [To come Rainier] man?last Thursda YouTurn to 9 thosethis page wets right down. here/ OK? PutDi Bye girls/ 40 Appendix C Transcript of "Acorn People" Small Group Discussion II Line 19 1 Teacher Gardnerclean[ToFollow Tasha] page? along Do Yeah/ with you haveme/Put the a I Student I: Shaluan I Student 2: Tasha Studentz3: Tenika 1 Student 4: Rainier II 20 asha]dateSeeidea/ on What's_your how Today'sit/ That's she did?11/5/92/ a goodname? [To Tasha/ 222123 Tasha/for theputting Tasha, day/ your you name,get "A" What. ((LF)) Tasha 2524 PaPed putting your date onie the s 1 don't get nuttin/ Uh huh 27262928 you[To[To writeRainier] Shajuan] darker Why No,than don't that'sthat? I could get one ((I,F)) Cu; that's how he writes 313032 don'tOK/[To press Rainier] hard That's Man,enough/ youOK/ I don't get a "A" ? 33 OK?pickListenwithYou up toready? meyour this/ as story I Follow Pickread/ now/ up, It along says, 34 PeopleParagraphs"ReadPutacorn downthe by following Ronpeople./ fromon yourJones"! IbtAcom OK/ Pad, Copy the 35 it rightacornget the off people spelling of here soright/ you The DoShould you wewant put the the author? author? 57 II Line 1 Teacher: Gardner 1 Student 1: Shajuan Appendix C Transcript of "Acorn People" Small Group Discussion 1 Student 2: Tasha 1 Student 3: Tenika."...171 Student 4: Rainier 3637 theRight, name the of acorn the story/people is , . . , ll 3938 gottabother[To[To Tenika] be Rainier]being quick, Don't,so OK?Alright, neat. don't You now 40 RonRight[Toniceyou're Tenika]andJones/ here/ doing dark. "Ron The good/ author?Jones"! That's 44434241 authorTash[To Tasha] of. this writing?Who's the ri !MI B Tasha and Rainier/ 45484746 Actually,And Tenika/ I looked at your , That's my name/ 515049 likeYou Z ready? Ift!) 52 g P 5355sa Two[To Iand utGardner) numbera half miles/ Justone? put/ like/ 5`J Appendix C Transcript of "Acorn People" Small Group Discussion 56 Yeah/ Put number one/ 1,,....r 57 they've/knowthey'vetwo and they'vethey're gone/a half walkingwalked wemiles/ don't or yet/ They have gone/ 5958 halfThey miles/ have gone two and a writing]"two(spoken and aslowly half mile?"---while 6160 ((,F))gonna[ToReady? Tenika] have It to saysOK? be quicker/ "TheYou're fmal 62 itup"/half looked mileWhy straightlooked do you straightup? suppose taBecause mountain/ they was going up 6364 goingHow do up you a hill? know they're steep/AndThey plus was it going looks up kinda a hill/ 666567 hillside/"ThesaidBecause/ that/ final of itgrade slatesaid/ wasrock" urn/it a a6970 "and loose 1., . vel"/ 7172 //Yeah, straight up] AndstraightBecause the up/wbensummit/ they say 61 43 Line Teacher: Gardner Student I: Sha'uan Appendix C Transcript of "Acorn People" Small Group Discussion Student 2: Tasha Student 3: Tenika Student 4: Rainier 73 OK/knowAndstraithe Puttbe thatfinal :ht down,summit/ wordu half put milesummit/ You down is 76.7574 Yeah/ Number two. "thewriting) final(spoken half/ slowly half mile" while 80797877 TheyMile/straight gotta up/ go aalmost/ half mile Oh/The final half what? 838281 straight?knowrroYou Tenika] how look to Howon spell the do paper/ you Ooo ( ) Because/ it's on the paper/ 8485 Right/Yep, I hope so/ thehearDo tapeyou me? recorder)think (In reference that they to 1,-6' 8887 You ready forart? the "More next forbiddin:"/ urro Rainier] Man, you MT)) 92919089 ShajuanYou_gotta[To Rainier] (Last be quicker/ Name)/ /Don't worry/ otta be uick Rainier ce , for m words/ 9493 62ThisOK is just your notes, You mi.ht as well , been[To done Shajuan] before I you/would've 63 Line Teacher Gardner Student 1: Shajuan Appendix C Transcript of "Acorn People" Small Group Discussion Student 2: Tasha Student Tenika Student 4: Rainier 95 inclineMoremileHere looked weforbidding however/ go/ straight"'The thanwas final up/ the half 96 simplydeteriorationloosehillside"The stopped"! finalgrayel/ of grade slate/of the wasrock/ trail/ a and It 989799 that/How indo our we notes/wanna say hillsideThe/"The Oh/ offinal slate grade rock was and a 1'111 101100 trailOr/ Right,was loose/ The trail/rocks/ The OK? loose :ravel"! The trail was loose rocks/ 104103102105 Right/ OKThey/ they/ that means ThePut numbertrail was three? loose/ 106 sidcwalk/theydidn'thave/ didn't ahave superhighway/They have a pathdidn'ta even/ they 108107 looseAllthere?How they rocks/ many could people follow are was Wh did the / 110109111 we?We don't know that yet/ do I don't know/ It sounds like them's two/ 113112114 riIt sounds}low do like you two know/ so far/l_g Al_ 64 ( ) look like three 65 Ene Teachec Gardner Student 1: Sha'uan Appendix C Transcript of "Acorn People" Small Group Discussion Student 2: Tasha 'IStudent 3: Tenika Student 4: Rainier 115116 about?WhatpushwouldOK/ Let's thechairs he chairs no go theyway on/ up talkingwThereto this"! pull or 120119118117 HowWhat. do you know the ( ) wheels/ The wheels/ 121123122 What.wheels? I don't know! L Chairs to sit down in/ 126125124127 OK/The chairs to sit down in/ TheYe wheels/ 129128 Thenkindlacksimply it ofsays spunchairstraction"! "the around have wheels What wheels? for No kinda chairs/ 132131130 It says there'd he no way Um/ Wait Noof kinda chairs/ chairs/ No kind 133 justchairsbecauseto spin/ get thehave What the chairs wheels?wheels kind up of wouldthe hill 0o/ um/ 137136135134 How do ou know that? Wheelchairs/ Wheelchairs/ Wheelchairs/ 140139138 OK/ cuz the have/ um/ wheels/ wheelchairs?mountainWho'd want with to go up a 6 7 Appendix C Transetipt of "Acorn People" Small Group Discussion 141 ((U)) 143142144 WhoSay that would/ again? That's a key aFfi mountainWho'dwheelchairs? want with to go up a thisWhotheThat'squestion! writermountain would good/ Putmakes want That's thatwith us todown! whatthink/go up 145 wheelchairs?. Why would they want to 146 wouldWhyRight/ would they?Put that they? What down/ Why kind of wheelchairs?go up a mountain with 148147 wheelchairs?goWhya up would this mountain they want with to o le is this? Yeah/ Put that down 150149 answerBefore we'rethat question, done/ we'll OK? please/ [To Tasha]ou lush Don't me OK? (...) really long sentence/ -75=-Teah/ 153152 Yeah/ And why/ Who --, NytyAnd why/ We should put too/ 154 andmountainviouldDesperation/"Spider why/ want Good/ incalled towheelchairs go butYeah/this up no placethe one 155 laughed"!character?we know OK/ about What the do first 6 His name is Spider/ His name/ His name is Spider/ 6 9 Appendix C Transcript of "Acorn People" Small Group Discussion ILine 156 1 Teacher. Gardner 1 Student 1: Shajuan 1 Student 2: Tasha 1 Student 3: Tenika 1 Student 4: Rainier 158157159 OK/OK/Put Put thatOne that characterdown/ down/ //022m_ in the Spider///OneFirst person] character's name is 161160 Goodknow/story is thinking/ named Spider we name/Spider/ Let's name his last 162164163 What.Doesn't say his last name, SpiderName hisquestion/ last name/ 167166165 does it? ( ) c'mon/ Uh uh (Uh huh ) c'mon/ 168170169 everyone"?about"DominicOK/ us What trying suggested/ do to we carry write how The second down for that? . 171174173172 Let's put it this way/ Dominique TheDominic second person is/ Dominic/Err/Domineek/ The second person/ 176175177 anothercharacter/Dominic/ character anotherDominic is But 1 already put/ . 178 _spell secondhow[To Tashallhat'scharacter/do you know Now/ OK/ bow The to character? Because we had it as a 179180 Oh/ ou did? 7 0 spelling word/ 71 Line Teacher: Gardner I Student 1: Shaluan Appendix C Transcript of "Acorn People" Small Group Discussion tStudent 2: Tasha 11 Student 3: Tenika 1 Student 4: Rainier 181 Yes ( Yes . 183182 Ever since ou were what? four/actually1 learned ever how since to spell I was ) I knew that/ four/ 185184186 doesnamedOK/ thehe Dominic./ wannasecond do? character and what is Carry people/ Carry people/ 188187 Dominic/WhatHe wants do we therefore?to carryknow people/about He's heliful/ C. ,:. 'le/ 191190189192 He's helpful/ and/ Willlaboratory? you putall putthese this in inthe the 194193 What's a laboratory? developinbe/Thelaboratory? um/ thing workin wherestuff/ and 1.Th/you all She 195196 mean.laboratory?We put 9 this Whatin the dya Jut/ Will y'all put that in the 199198197 Oh/tape/Yeah/ the andtape we I/listenyou I wanna mean? to the see if I boomYeah/ box? 200 answers/makeask good you questions give good and 72 Yeah/ 73 49 Line Teacher. Ganiner Student I: Sha'uan Appendix C Transcript of "Acorn People" Small Group Discussion Student 2: Tasha Student 3: Tenika Student 4: Rainier 201 doNow/carryDominic? we myknow people/ question aboutIf hebe's wantsis/ what to 203202205204 Helpful/ and what else? abl / helpful/And care about people/ Kind/ helpful/ 206208207 Kind/kind/He'sHe's probably prob/ and helpful caring/ and And care about people/ 210209211 No/He's Lookit/probably Think also not/about Dograde? y'ail visit seventh Not greedy/ not greedy/ 213212 TheseInawhat mountain wheelchairs/ people you know airin/ going soDominic far/ up heelchairs/ wheelchairs/ wheelchairs! 215214 in/meanswants to he's carry probably people/ not/ that A wheelchair/ 217216 hownotOK?So in we Dominic'snow a wheelchair/figured we know thatprobably out?someSee Yas/ 220219218 andpeopleOK/ some are peoplein wheelchairs aren't/ Now/Yas/ What about Spider? 221 knowaboutLet'sDowheelchair putwe?yetSpider? down/if What Spider's or We not/Whatdya don't inSee?think? a 74 75 Line II Teacher: Gardner iStudent 1: Sha'uan Appendix C Transcript of "Acorn People" Small Group Discussion Student 2: Tasha Student 3: Tenika Student 4: Rainier 222,223 Whym ado wheelchair? you think he's not wheelchair/I think he's not in a 224 wheelchairs/he'slikeWell/ hetalkin cuz cancan he's/ aboutwalk/walk/ he theand/it sounds sounds and 226225227 Why/soundBecause What like makes heof canhis Spider name/walk? OK/ becauseWell/ because of his ofname/ his name/ 229228 I think he can t walk/ And/ uh/ and/ 6. 232230234233231 WhyYou thinkdo you he think can t that?walk? Urn hmm/ ecause/ um/ Because of the word 235236 right?meanThatdesperation/Cuz he could/ it's said a highthethat word couldsteep justhill/ 237239238 OK/ Yeah/ Whendesperation/walkedHe might/ he's up andcould'vetired said of walldng just 240241 doYeah/ you [To want Rainier) to say What up a hill/ desperation/You really need 243242 Rainier?wheelchair?You think Spider's in a 76 I think he in a wheelchair/ Appendix C Transcript of "Acorn People" Small Group Discussion _245Line 244 Teacher.N_"_yyhdo Gardner ou think that? Student I: Sha'uan L Student 2: Tasha Student 3: Tenika Yeah/Student 4: Rainier 246247 OK/ The/saidwheelchairseem uh/ 4.44, like Cuz/ he cuz like/ in whena they/ he it .., 248 canbeWell/ walkthat'sthat walk/ desperation he thenin and can!a wheelchairthey a heperson don'tcanmight/ just really can't 250249 Desperation/OK/ That's a key word/ WHEELCHAIR/I THINK SPIDER IS IN A need des,: . tion/ 251 leaningit'sDon'tdirectly(In gonna over referenceget into itandrun uptape speakingout close/to recorder) Shajuanof then 253252 OK/carry"Howmore/ Let everyone"! meabout read us some trying Follow to ((l,F))words! 254 ' "Thomas nixedwherealong,there'Not the we OK? me, idea,on are? someone'sI'm Can not you going setback." up 255 pardonwantThomas/back/whichgo toon me/ go someone's Thomas indoesn' a means wheelchair/ tdoesn't wanna he's 257256 probably/downIn a wheelchair/ Put that In a wheelchair/ 7 Appendix C Transcript of "Acorn People" Small Group Discussion 258 Texher: Gardner Student 1: Shajuan Studentwheelchair/ 2: Tasha Student 3: Tenika Student 4: Rainier 260259261 "Aaronwheelchair/Thomas'I'll watch." had is probably a similar inplan, a Thomas is in a wheelchair/ 262264263 Aaron?That tells you what about That/ cuz/wheelchair/He's theynot insaid a/ heurn/ had a 265 toBut whose he had Ian? a similar plan By/Dominic/ Dominic/uh/similar like/ plan/ He tries to/ 267266269268 plan/ThomasNo:o/ No/ I don't had Aaron a think similar/ had so/ a Thomas/ 272271270 similar plan Ian?to/ whose No/ Spicier2_, Thomas? Dominic/ . To Thomas/ 274273275 risuggestsRight/ ht"Thomas answer/ No/ to/ Dominic nixedThomas ri ht the isidea, the 276 thereAaron'Not Aaron'I'llon me, someone'swatch."/had agreesI'm a similar not with back.going plan, up That means that/ 277 OKThomas/ I'll just watch/ isSo probably/not that in means a wheelchair probably that Aaron/ is 81 Appendix C Transcript of "Acorn People" Small Group Discussion 278 saidwheelchair/No/simitar_plan/ AaronI'll probably probably that's havewhy ahe in a 281280279 Right/I don't put know/why that down/ do you backWho inwas 1976? our president cuz/ um 284283282 Lookit/((LF))/want to IknowLet's don't worry that?know/ about knowBecause that I just want to ((LF)) ((1-0) 286285 "SpiderAaron/ OK/and Benny"! OW down?what'dWhat'd youyou saysay toto putsay/ 288287 SeewheelchairAaron how is we'reprobably too/ cooking in a up iswhileAaron/ probably writing) (spoken in a slowly 289290 theseamazing/[To details? Tenika] You That's said/ ((-.F))too/ slowlywheelchair/ while (spoken writing) wheelchair""Aaronandwriting)/slowly she is as probablywent/ as(spokenif recitingyou "too" wrotein a while it/ ... 291292 theBecausethat?[Toadded same Tashal she thething/ too/was Did and writing you she notice ((LP)) ((LY)) 293 more/along/OKJ Here we'll we read go/ aFollow little 82 " 54 Eine 294 1 Teacher GardnerTell you what/ Why don't 1 Student 1: Shajuan Appendix C Transcript of "Acorn People" Small Group Discussion 1 Student 2: TashaUh huh/ 11 Student 3: Tenika.= Student 4: Rainier II 2962 '5 endWhat?time/I read of OK? athe Should whole paragraph?You chunk readready? to this the Likeachtinkis4. o:ver/(...)/ 1 yeswant this story 298297 talking"SpiderHere I go/ wildlyand follow Benny about along/ were a it/(...) would you/ like/ stop climbersmoviemoveddeliberationthings/ they user" severalDuring saw ropesMartin in feet ourwhich and uphad the 300299301 Martin/hill without our noticing"! Martin/Martin can walk/ 304303302 canWell/[To walk/ let'sShajuan) see if Tenika Martin says should[To Gardner) go on/ Man/ you 306305307 Let'sMartin see can what walk/ he does/ Or/Uh huh/or/ or/ hillRunnin theirself up the 85 55 Appendix C Transcript of "Acorn People" Small Group Discussion Line Teacher. Gardner Student 1: Sha-uan . Student 2: Tasha Student 4: Rainier 308 noticing"!feetMartin up hadthe Themovedhill questionwithout several our is/ - canMarCmyou Wartmmovingfacing guys, was downhill.waik?r"Hey, hisit's sitting legseasy.'/ under down/By him ------sittingedgedthenin likea squat pushing upbeposture. thewasposition hillback, rowing He in and helookedthis a boat. wheelchair/((WH)) He's in in a a . acrossOnlyonliterally insteadhis water bottom. rowing beof wasrowing Usingup the legshill andamazing.'delighted,progress.fashion, arms in he an BennySpider 'Martin,made accordion steady wasadded you're to doubtful.andmountainsurethe compliment,Aaron that man Leaving cross."Thomaswere gets still 'Make thetheir 309 easwheelchairs thin: to wasdo." not an What kind of mountain So/inare/ Thomas wheelchairs/ and Aaron are) 310311312 wheelchairs/Thomas and Aaron are in wasWhat this? kind of mountain/ And Martin/ 313314 Well/can't we walk/ know the Martin regular way what kind of kindWhat of kind mountain of wheel/ is this?what 87 Line Teacher Gardner Student 1: Sha'uan Appendix C Transcript of "Aonrn People" Small Group Student 2: Tasha Student 3:Discussion Tenika Student 4: Rainier 315 question/ what downI know/ for yeah/ a question let's put that . 317316.Puithe.319318 kind of mountain is this? Man/ she always gotta add We don't have to/ 320321 this?/What kindis a :ood of mountain s uestion is question/Iher came stu &id up sowith y'all the should/ 322 thankExcuse ou me/ Dr. Gardner/ it/Uh unit/ I came out with . 323324 Didfirst? you hear when I said it No/ I didn't , I didn't 325328327326 mountainIthen said/said she/ it what first/ then is kindthis? she of told me then1/ II know he said/ then on said/ 329331330 OK/OK/ so we got that YouThenwith know she it had that asked 1 came you/ out 332334333 establishedOK((LF))Martin gets down on his ugh/I said/inestionl that's she took my Sense me/ So far we have nine/ 335336 Listen/butt/butt,up sitsthe heright? downhill backs sliding and himself backs on his th 337 mightKay/ We not know bebe/ ante Martin Martin to walk 88 Appendix C Transcript of "Acorn People" Small Group Discussion Line 339338 TeacherMartin Gardner might be able to Student 1: Shajuan StudentUh huh/ 2: Tasha Student 3: Tenika Student 4: Rainier 340 right?thewalk/ mountain but he's anyway/ going up Mar/ fashion/Right/ in a fashion/ (royal) 343342341 moreHereAccordion we go/ fashion/ I'll read some , He's cmwlin up the hill 346345344 backwards"AfterHe'sseveral crawling a long demonstrations debate, up the andbill by Backwards/ Martin,beltSpideragainstthe ascentbuckles we inthe decided his Dominichill and lap. and safetyto Using Imake placedsat SpiderupDominicIstraps tied the the fromstrappedhill. twotried Itthe together.work( a wheelchairsto few d.ows opportunitybothDominic's of them stomach to the look gevedown . movementforDominic'sforward.the thehill hingelikeas It they legsandalso balanceinched andfreed arms , necessaty to squeeze up the 348347349 laKlputhilldoDominic/ and you that not want Dominic/ down/sli to bacIp'______say it? how What? 91- Appendix C Transcript of "Acorn People" Small Group Discussion Line 350 Teacher Gardner DominiqueStudent 1: Sha'uan Student 2: Tasha Dominic/Student 3: andiand/Tenika Spider/ Student 4: Rainier= 351 wereOK/ Dominic tied to:ether/ and Spider androwing/ were were rowing tied up together/ the ------354353352 Double/ U/ E/ R/ E Double/What kind U/ of Hi were E R/ is this?/ licx1 tmether/Dominic and Spider were '11/------357356355 tiedhill/And together/Dominic backwards/were rowing and and what? Spider up the were And climbed up the hill/ 359358 themtheYouYou technique see/ all see goMartin that? up that the invented let's hilY rowing(...) tied uptogether the hill/ and 360362361 hill/How much/ rowing up the Uphere/We the could hill or/ backwards/(...) press this right 365364363366 That'sYouHere's theready/ the micrjo ston overtone/ here/ Oh/ Well/ my sister and brother 369368367 Sliding on their rear ends . ((LF))/ Their stomachs/ downuseStomachs/ this the technique stairs/ to go My sister do like this/ 370371 That'stechniSo/down/think this sue/a wegoodis a should common point/ put I kid's that 9 2 9 3 Appendix C Transcript of "Acorn People" Small Group Discussion (Line 372 [Teacher GardnerandKids their slide stomachs/ on their behinds put I Student 1: ihajuan I Student 2: Tasha II Student 3: Tenika I Student 4: Rainier 373 that down/ adults forget0 II I I . r slidfatherMy broidown tried my the to ah:h/ steps/do that/ my and he 375374 that/thanSo/He hurtkids adults/that's himself? are good huh?!better thinking/ Iat like that uh/ and sprained his ankle/ 377376 downgoodPut down/ at stairs sliding kids/ this up kidsway/ and are put/Now/ because what did I forgot/ you say to 378380379 whenI remember I was adoing kid/ that OneAndthis/ timeuh/ and one my she time/ sister went did like like 381382 OK/ hereand studentscomes the talk {Severalnext at once people, teacher sthis/ and she almost 'ned her ankle/ 383 workedhimself.He"Bennypart/ wanted biswas In towaya next trialtry up itin effort by theline. hill he 386385384 Let'sand right not writeout of that his partpants." ((LY))Very funnyg(LF)) ((,F)) ((Y)) 387 9 down/pillow"Atready.chairs his frominsistence toWith hisone hisbutt. of westrength" the He tied was a 9 5 Appendix C Transcript of "Acorn People" Small Group Discussion Line 388 Teacher Gardner StudentthatWait/ at? where 1: Shajuan you guys say Student 2: Tasha Student 3: Tenika Student(Pointing 4: Rainier to the right-hand "Imilml 389391390 (Pointing to the right-hand (0-FD columnthis side/ of the Shahran/ text) On 392 readingpage)column Right of Demetrius's here I'm Wait/ wait/ wait/ don't go/ . 394393 -4 Wherenext itin says/ line" "Benny was don't go/ don't go/ (Reads) "He wanted to try 395 balancehingelikelegs"It also and freednecessary arms movement Dominic's for theto and it by himself." slipeffortitinsqueeze back. byline. himself.he HeBenny upworked thewanted In hillwas his a andtrial tonextway try not ((l-F)) 396 hisupchairspillow"At thepants." hishill to frominsistence and his one rightbutt. of weoutHe the tied ofwas a 397 dragheready. sabody/Bennyjust hiss/ Withmight bodyput has that his tothebe dragstrength down/abledistance." his to that 398399 9C body/Bennyabout what has Benny? to does drag that his say body/Benny has to drag his 97 Discussion 1^Line 400 Teacher Ganiner Student'l: Shajuan Appendix C Transcript of "Acorn People" Small Group Student 2: Tasha ; Student 3: TenikaBenny slides his pants off Student 4: Rainier 402401 WhatThatBenny/ does he hasthat to say drag about his Benny has to his butt/ . 403405404 body?!he's/ he'shis legs don't work/ Probably needs a hishe's/ self he's down up there the hill/ rowing 406 don'tkid/He'sdra: otprobably work/ hisat least bod OK/ ahis wheelchair he legs has to Whywheelchair do they going this far/ . 407408409 I'll tell you that next people?callacornWhy it the dopeople? air/ they the call acorn em the 410 notweek/storyIf a/ I OK?tellit's yet/ notyou a that clue now/ in the it's UmOh/ hmrn/ OK What is it supposed to 411413412 I know/ Oh/ I know/ downhill?mean (...) drags himself 414417416415 YouHow gotmuch? it/ tape[ToA Gardner]recorderhundred buclz.s/ offI buy you/ that Alright/((l,F)) it says/ 418419420 What do you sell? I gotsneakers/I sell/ coats/money/ um:m/ all I Isell thatsell I sellsuits/ stuff/ 99 Line Teacher: Gardner Student 1: Shajuan Appendix C Transcript of "Acorn People" Small Group Discussion 1 Student 2: Tasha Student 3: Tenika Student 4: Rainier 422421 Lookit/ . do that stuff too story/Let's get on with the 424423 "Martin"/Lookit/ here we go/ We had a grand opening . 425 next."Martinpositionhelped Martin's and Aaron. Martin Aaron confidence In shapedwere a sitting his last Sunda / 426 againstgentlybodyNow/them and placed Martintogether." is legs Martin Aaron intoand a bounda lap. I 429428427 know?wheelchair person/ do we No We don't know NoiYes/ 431430432 Martin?What'sLook at it our say clues/ about We don't know that/ &---- BecauseYesYes/ Martin dragged 433 himselfum/them/ idea up/ everybody andto do he it gave else the/ 435434436 Kidstechnique/Mar/ inventedMartin right/ invented it/ but the Dr.Guess Gardner?/ what? No/ kids invented it/ 437 Martinmountain invented climbing it for this Dr. Gardner? butstory/Oh my not pd1 on this television/ is like a 439438 1 0 0 Nowperson/Martin listen/ is I guess/aMar/ wheelchair Martin/Hey I was talking about no ciu 1 Appendix C Transcript of "Acorn People" Small Group Discussion Line 441440 TeachecBecauseBut Gardner he's what?also strong/ Student 1: Sha'uan Student 2: Tasha Student 3: Tenika heStudent started/ 4: Rainier 442443 enoughRight/ but to canyhe's alsoAaron/ strong Why you startin a new He started!o u , thethe technique mountain/ to 444446445 onbetween/He's his lap/ skipping lines And we had (...) page? Cuz I'm already done 449448447 on/strongKay/ Put down/skip enough line Martin fromto carry isnow I'm skipping lines too/ Me too/ 450 Aaron/ enough/writing}Martin/(spoken to Martincarry/ slowly Aaron/is strongwhile 452451 Kay Carrywords Aaron/ rhymin Oh/Aaron? how do you spell 454453455 A/you'll oh/How look find do on youit your spell paper/ it the wa ? Look/short I spelledwa / E/ enough N/ IN Etthe F? 456457 rIir.ftWhenyou you'respell it takingt..he short notes/ wayi_ No/ I didn't spell it right (Spoken in unison by all students) El N/ 0/ U/ G/ H/ 458 am/ cuz it ain't imv_rt ...apt/ That/ that's how we/ that's . 459 1 2 bowhowwhen youwe talk/ ouspell sa enuff/ ft/ that/ like that's I a Line Teacher: Gardner Student 1: Sha'uan Appendix C Transcript of "Acorn People" Small Group Discussion Student 2: Tasha Student 3: Tenika Student 4: Rainier 461460 Whathave do a youspelling do when test? you We write it right/ We just write it the right 462463 TheHere right it way/goes now/ back to (Several staxlents talk) way/ 464 Thomastheend"Thomas story/ groundof the and andyou ladder. in pulled Ifrontready? were I ofhimsat at theon ontotiedwererotatedfirst me. ourselvesout comfortable. Weuntil of thetwisted both together."chair of Thenand andus , 466465 tellingWhat do the we story? call the guy (Several students talk) The narrator/ 469468467 TheWho/ narrator/ narrative/It'snanative/ like a personal . 470471 narrative!knoWRight/ about this..-hat is thedo his narrator?we personal not/That/ um/ he/ II thinkthink he's not// 472 person/narratorRight/ put is notthat a down/ wheelchair the person/um:m/ a wheelchair 473474475 TheA/ narrator/know[To RR/ Tashal A/ how spelled/TOR/ toIlow'd spell NI youthat? l'i4 What? 65 Line 476 Teacher: Gardna Student 1: Shanan Appendix C Transcript of "Acorn People" Small Group Discussion StudentI don't 2: know/ Tasha ((LF)) Student 3: Tenika Student 4: Rainier 478477479 Thewheelchair narrator is 1:, not a I did see it in a book/ Notslowl a wheel while (spoken writinl 481480482 OnheBecause carries his lap! be Thomas/ helps Thomas/ slowlyBecause while be carries writing) (spoken 484483485 IHowChristmas?Hey/ want boutwhat a Jacuzzi! a do Jacuzzi?! I want for Yeah We have a Jacuzzi at our 486487 You do. house/Jacuzzi/bathtub/Uh huh/ butit's younotlike reallyjusta press a 488 Cool house/toHey/ have I'm I got one just a toJacuzzi saying myself/ atthat my thecome thing out/ and the bubbles 489491490 Oh/inKay/ it? you'll what?/ Chill onSee/ Friday I can night/go and chill in it ((Y)) (Several students talk) 494493492495 MartinWho carried carried Philip? Aaron (Continue talking about bathtubs and Jacuzzis) Urn/ Martin carried him/ Who carried Philip? 496 (Continue talking about bathtubs and Jacuzzis) Wait a minute! The narrator/ (1 7 Appendix C Transcript of "Acorn People" Small Group Discussion Line I Teacher: Gardner JJ Student 1: Shailan I Student 2: Tasha Student 3: Tenika I Student 4: Rainier II 499498497 TheHere's/Thanas/ narrator HERE'S carried A GOOD {Continue(Continue talking about bathtubs andand Jacuzzis}Jacuzzis) name?WhatI got a is question/ the narrator's 502501500 whatThe uestionIis UES110N/ the narrator's is sa it/ Ron Jones nameWhat . 9is the narrator's 503 Thename? answer is Ron Jones/ . 505504 know[ToRon Shajuan] that? Jones wroteHow do the you story theBecause book/ Ron Jones wmte 506 thinkinl!Shajuan]isPut the that narrator/ down/ Man/ [ToRonthat's Jones good . 67