“…‘The best way to understand how a text works, I argue, is to change it: to play around with it, to intervene in it in some way (large or small), and then try to account for the exact effect of what you have done’. (Pope, 1995, p. 1)Pope argues that creative, playful adaptation of a text can be helpful, particularly when combined with critical commentary; by making changes and weighing the implications, we adopt a ‘critical‐creative’ approach to literary study, an approach that bridges imaginative and analytical ways of working with language (Pope, 2012). In the above vignette therefore, Joy engaged in a critical‐creative process: she attempted to adapt a text and to consider the semantic implications.…”
Section: Theoretical Framingmentioning
confidence: 99%
“…‘The best way to understand how a text works, I argue, is to change it: to play around with it, to intervene in it in some way (large or small), and then try to account for the exact effect of what you have done’. (Pope, 1995, p. 1)…”
Section: Theoretical Framingmentioning
confidence: 99%
“…In creating AGG , I was inspired by Pope to write a work of IF that I hoped would be capable of ‘de‐centring’ (Pope, 1995, p. 14) a classic work of literature: The Great Gatsby . I imagined that the work of IF I created might motivate my students to become more playful and creative (Pope, 2003) in their critical explorations of Fitzgerald's work, and in their reading more generally.…”
Section: Theoretical Framingmentioning
confidence: 99%
“…First, I provide readers with a vignette that portrays what teaching and learning with such a work of IF can look like. I then provide some theoretical framing, outlining how I used Textual Intervention (Pope, 1995) to produce critical‐creative works of IF for use in the classroom and clarifying how I conceptualise the term metalinguistic talk . After outlining the methods and ethical processes followed, I analyse and discuss two transcripts of classroom talk, referencing my field notes and interview data.…”
Interactive Fiction (IF)—a digital form of non‐linear narrative writing—requires readers to respond, to make choices that shape their reading experience. I argue that such choices can be put to use in the classroom, helping teachers to facilitate metalinguistic talk. In this article, I offer a clear conceptualisation of metalinguistic talk, drawing upon existing research to create a useful framework comprised of four characteristics. Using this framework, and with reference to interview data and field notes, I analyse and consider two transcripts of classroom talk in order to explore the extent to which a particular work of IF enabled me to facilitate metalinguistic talk with a class of 16–17‐year‐old English Literature students. The lesson in question formed part of an action research project exploring the possibilities for IF in the secondary school English classroom. I argue that the choices contained within A Great Gatsby, a work of IF which I designed via a process of critical‐creative textual intervention and using Fitzgerald's The Great Gatsby as my source material, can help to scaffold metalinguistic talk—conversations about language.
“…‘The best way to understand how a text works, I argue, is to change it: to play around with it, to intervene in it in some way (large or small), and then try to account for the exact effect of what you have done’. (Pope, 1995, p. 1)Pope argues that creative, playful adaptation of a text can be helpful, particularly when combined with critical commentary; by making changes and weighing the implications, we adopt a ‘critical‐creative’ approach to literary study, an approach that bridges imaginative and analytical ways of working with language (Pope, 2012). In the above vignette therefore, Joy engaged in a critical‐creative process: she attempted to adapt a text and to consider the semantic implications.…”
Section: Theoretical Framingmentioning
confidence: 99%
“…‘The best way to understand how a text works, I argue, is to change it: to play around with it, to intervene in it in some way (large or small), and then try to account for the exact effect of what you have done’. (Pope, 1995, p. 1)…”
Section: Theoretical Framingmentioning
confidence: 99%
“…In creating AGG , I was inspired by Pope to write a work of IF that I hoped would be capable of ‘de‐centring’ (Pope, 1995, p. 14) a classic work of literature: The Great Gatsby . I imagined that the work of IF I created might motivate my students to become more playful and creative (Pope, 2003) in their critical explorations of Fitzgerald's work, and in their reading more generally.…”
Section: Theoretical Framingmentioning
confidence: 99%
“…First, I provide readers with a vignette that portrays what teaching and learning with such a work of IF can look like. I then provide some theoretical framing, outlining how I used Textual Intervention (Pope, 1995) to produce critical‐creative works of IF for use in the classroom and clarifying how I conceptualise the term metalinguistic talk . After outlining the methods and ethical processes followed, I analyse and discuss two transcripts of classroom talk, referencing my field notes and interview data.…”
Interactive Fiction (IF)—a digital form of non‐linear narrative writing—requires readers to respond, to make choices that shape their reading experience. I argue that such choices can be put to use in the classroom, helping teachers to facilitate metalinguistic talk. In this article, I offer a clear conceptualisation of metalinguistic talk, drawing upon existing research to create a useful framework comprised of four characteristics. Using this framework, and with reference to interview data and field notes, I analyse and consider two transcripts of classroom talk in order to explore the extent to which a particular work of IF enabled me to facilitate metalinguistic talk with a class of 16–17‐year‐old English Literature students. The lesson in question formed part of an action research project exploring the possibilities for IF in the secondary school English classroom. I argue that the choices contained within A Great Gatsby, a work of IF which I designed via a process of critical‐creative textual intervention and using Fitzgerald's The Great Gatsby as my source material, can help to scaffold metalinguistic talk—conversations about language.
“…Hay numerosas actividades creativas en las que el potencial didáctico de los textos literarios puede ser explorado para desarrollar la CCI de los alumnos; una de ellas son los ejercicios creativos de intervención textual. En síntesis, en las tareas de intervención textual los lectores interactúan con el texto original transformando de manera creativa una parte o la totalidad, y luego reflexionan sobre la fundamentación e implicancias de los cambios realizados (Pope, 1995). Algunos ejemplos de ejercicios de intervención textual incluyen transformar un poema en obra de teatro o cuento, imaginar un personaje medieval en un programa televisivo contemporáneo, traducir un texto para adultos adaptándolo para niños o cambiar la variedad lingüística del texto de origen, entre muchas otras posibilidades de intervención, cuyo valor final reside en el análisis de las implicancias de estas modificaciones.…”
Section: B Proyecto Intercátedra: «El Desarrollo De La Competencia Co...unclassified
Los profesores de Inglés como Lengua Internacional (ILI) en el niveluniversitario tenemos el desafío de promover el desarrollo de competenciasinterculturales con el fin de desafiar patrones hegemónicos enla enseñanza de inglés. Las habilidades interculturales incluyen y vanmás allá de la competencia lingüística, ya que trabajan sobre el diálogointercultural transnacional. El propósito de este trabajo es presentaruna sinopsis de la fundamentación, hipótesis y metodología de trabajode dos propuestas de investigaciónacción intercátedra impulsadas porel Proyecto de Investigación 199 del Consejo de Investigaciones de laUniversidad Católica de Salta (UCaSal), Identidad y Multiculturalismoen Discursos Anglófonos (RR 1733/16) y que se desarrollan en elCiclo Lectivo 2020 en la Facultad de Artes y Ciencias de la UCaSal:«Estudios sobre lengua, cultura y traducción: alfabetización culturaly competencias interculturales» y «El desarrollo de la competenciacomunicativa intercultural a través de proyectos creativos de intervencióntextual». Estos proyectos, encuadrados en la investigacióncualitativa y de corte descriptivo, buscan promover en los estudiantes—futuros profesores Inglés como Segunda Lengua/como Lengua Internacional,y traductores— el desarrollo de las competencias necesariaspara navegar la diversidad cultural y aprender a construir opcionesde futuro más inclusivas.
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