DOCUMENT RESUME ED 388 032 FL 022 732 TITLE WATESOL Journal, 1989-1994. INSTITUTION Washington Area Teachers of English to Speakers of Other Languages. PUB DATE 94 NOTE 184p.; Only three issues published (fall 1989, spring 1991, fall 1994) during first 5 years. PUB TYPE Collected Works Serials (022) JOURNAL CIT WATESOL Journal; Fall 1989-1994 EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Childrens Literature; Class Activities; Elementary Secondary Education; *English (Second Language); Error Correction; Females; Films; Foreign Students; Limited English Speaking; Linguistic Theory; Males; Professional Associations; Professional Development; Realia; Regional Programs; *Second Language 'Instruciion; Whole Language Approach; Writing Instruction IDENTIFIERS Japanese People; Krashen (Stephen) ABSTRACT "WATESOL" is an acronym for "Washington Area Teachers of English To Speakers of Other Languages." This document consisus of the only three issues of the "WATESOL Journal" published from 1989 through 1994. Fall 1989 includes: (1) "The Visual Voices of Nonverbal Films" (Salvatore J. Parlato);(2) "Literature for International Students" (Anca M. Nemoianu and Julia S. Romano); (3) "Male and Female Japanese Students" (Christine F. Meloni);(4) "The Influence of Teaching on Students' Self Correction" (Maria Helena Donahue); (5) "Creating a Precourse to Develop Academic Competence" (H. Doug Adamson, Melissa Allen, and Phyllis P. Duryee). Spring 1991 issue incltides:(1) "Children's Literature for LEP Students, Ages 9-14" (Betty Ansin Smallwood);(2) "Portable Mini-Centers for the Elementary ESL Classroom" (Mary Lou Kulsick and Pat Robinson); (3) "Shakespeare Made Simple" (Susan Lewis English);(4) "The Fail-Safe Micro Research Paper" (Mary Anne Saunders);(5) "Conferencing with ESL Students" (Nancy Hayward). Fall 1994 issue includes: (1) "Four Sure-Fire Fillers" (Pam Monder);(2) "Put the...On the..." (Les Greenblatt);(3) "Who?" (Les Greenblatt);(4) "Realia and American Culture" (Melissa Hess and Sandy Sklarew); (5) "Static Images: Creating Colorful Classrooms for Temporary Purposes" (Shirley Thompson);(6) "Electronic Feedback: Responding to Student Writing On-Line" (Run Corio);(7) "Storytelling: Authentic Learning from the Heart" (Joan Leotta); (8) "Classroom Implications of Krashen's Writing Theory: The Use of the Double-Entry Journal" (Carroll Fox); (9) "Teacher-Centered Versus Child-Centered Approaches in English Instruction" (Nobuhiko Akamatsu) ;(10) "A Whole Language-Process Writing Model for Production of a Multicultural Text by ESL Students" (Henry J. Amador). (NAV) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** 411# (Nil 0en 00 00 en r: LL1 U S DEPARTMENT OF EDUCATION Office of Educational Researcri a id improvement EDUCATIONAL RESOURCE. INFORMATION -PERMISSION TO REPRODUCE THIS CENTER (ERIC) i(Drhis document has been reproducedas MATERIAL HAS BEEN GRANTED BY received Irom the person or organization originating it O Minor changes have been made to improve reproduction quality Oekc,r, Points of view or opinions stated in this document do not necessarily represent official OERI position or policy TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) ST COPYAVAILARLF _........41.-=TM Editor Christine Mcloni, The George WashingtonUniversity Assistant Editor Ellen Haack, deorge MasonUniversity Editorial Advisory Board Ali Aghbar, Indiana University ofPennsylvania Robcrt Giron, Montgomery College Linda Hughes, Prince George's CountyPublic Schools Dorry Kenyon, Center for AppliedLinguistics . Lois LanierUniversity of Maryland - UhiverSity Anca Nemoianu, The CatholicUniversity of America Carole Ryczek. Northern VirginiaCommunity College - Production Credits Design &"...TYpography Marney and Phil Jacobs/DesktopInk. Printing & Binding Charbray Printers, Inc. C7opyright :,"'s I 989 WAsHING 1-ON AkEA TEACIIH,:, OF TO SPEAKERS OF OTHERLANGUAGES (WATESOL) BEST COPY AVAILABLE 3 WATESOL Journal Fall 1989 The Visual Voices of Nonverbal Films Salvatore J. Parlato 1 Literature for International Students Anca M. Ncmoianu and Julia S. Romano 5 Male and Female Japanese Students Christine F. Mcloni 15 The Influence of Teaching on Students' Self-Correction Maria Helena Donahue 27 Creating a Precourse to Develop Academic Competence H. Doug Adamson, Melissa Allen, and Phyllis P. Duryee 37 Book Reviews 47 Author Guidelines 54 4 elcome to the first issue of the WATESOL Journal. Our hopc is V V that this journal will serve as a forum for thc work of WATES01, members, reaching a wider audience than is possible through presen- tations at thc local conventions. In keeping with the emphasis of thc journal, on teaching techniques and teacher-conducted research, this first issue contains two articles which suggest successful teaching materials and methodologies and three articles, which present the results of classroom research. The issuc concrudes with five book revews, a feature we hope to continue in thesucceeding issucs of thc journal Wc encourage you not only to benefit from the articles written by fellow WATES01. members, but also to allow othcrs to benefit from your work, by contributing to the future issues ofthc journal. We would also like to take this opportunity to extend our sincey: thanks to thc members of the WATES01, Executive Board. especially Terry O'Donnell. the current president. for their unfailing support and encouragement. Christine Mcloni Ellen Haack al Voi of Nonveri1 Fil Salvatore J. Parlato The class is fairly typical: Kimleng, Films without words are a Shawali, Diep, Sita, Cheuth, and fifteen staple of deaf educationother refugee adults. All of them are intel- and, because five fromligent; each of them is motivated; every one of pre-determined languagethem is eager to master the mysteries of the or interest levels, are espe-English language cn routc to entering the American workplace. How can students like cially suitable for ESLthese be reached? One answer may be by With Red Balloon as itsborrowing from deaf education where the use model, this article providesof nonverbal films is an accepted staple of a raiionale, utilizationinstruction. suggestions, a source for ficrther reference, plus a How can a film without words help anyone teach words? The answer, briefly, is by pro- mini-filmography ofviding the stimuli for language that viewers fifteen short nonverbalthemselves can generate. This flexibility of titles.format can free both teacher and students from the pre-determined vocabulary limita- Salvatore Parlato, firtnerly oftions that arc, unfortunately, built into most Montgomay County, teaches invideo/ film programs. the Greece (NY) Schools near "Nonverbals" isn't just a fancy ncw term for Rochester. He has served asold-fashioned black-and-white silent movies. consultant for the WHOUnlike those Chaplinesque nickelodeon Nonverbal Comnumication PrT'ect. flicks, nonverbals do include sound, but they don't usc thcir soundtracks to produce thc rat-tat-tat of word-packcd dialogue. Instead, this wordless medium employs sound as sound, that is,in thc form of rustling branches, grinding machinery, animal calls, mood music, or even snatches of conversa- tion in othcr words, ambient audio that's directly related to the on-screen activity. BEST COPY AVAII '11.E 2 The Visual Voices of Nonverbal Films Aside from that minimal aural aid, there's precious little noisc pollution to intrudc upon thc message of the moving image. Nonverbalmedia let the visuals tell thc story. These talk-free media aren't really meant for hearing-impaired per- sons. Films without words, althoughuseful with deaf learners, arc actually designed for hearing viewers. The best evidence forthis paradox is the prototype of them all, namely, The Red Balloon.This international favorite is a photographic fantasy about a Parisianboy whose inflatable toy becomes not only a companion, but truly afriend in need against a bunch of after-school bullies. Produced inFrance more than thirty years ago, The Red Balloon provesthree major points about good non-narrated pictures: (1) they over-ride the usualcultural boundaries; (2) thcy don't show thcir age; and (3) they appeal to more than one age level. Utilization How does one go about using a nonverbal film in the ESL classroom? Begin by showing thc film. This shoUld be strictly introductoryand unstructured, giving the storyline a chance to create its own impact. This "hands off' approach allows thc magic of movies to take viewers out of their every day lives and into a new experiencethat everybody (teacher included) can share equally and simultaneously. Ncxt, schedule permitting, show the film again. This timc,though, call out questions during kcy scenes. In fact, do somethingreally daring by encouraging what is normally taboo while watching a movie:TALK- ING. But talk about what's happening on screen. That's oncof the ways nonverbals can liberate audiences from the tyranny of canned third- party narration, allowing teacher and students to providetheir own commentary. The class controls thc choice of vocabularyand concept. Then, use focused data-specific questions to generate post-showing discussion. For example: "Where did this story take place: in theUS? in England? in France?" (now DO YOU KNOW?) Or:"When did it happen: this year? a fcw years ago? fifty years ago?(iiOW DO YOU KNOW?) Or again: "How old was the boy in the movie?" (now DO YOUKNOW?) "Was he happy