Developing Materials for Language Teaching

Developing Materials for Language Teaching

Brian Tomlinson

Language: English

Pages: 544

ISBN: 082645917X

Format: PDF / Kindle (mobi) / ePub

"In this book we offer the informed and reflective practioner as the ideal agent for mediating between the practice and theory of language teaching. Some of the contributors might be labelled teachers, some materials developers, some applied linguists, some teacher trainers and some publishers, but all of them share four things in common: they have all had expereince as teachers of a second or foreign language, they have all contributed to the development of second language materials, they have are all well informed about developments in linguistic and psycholinguistic theory and they all have respect for the teacher as the person with the power to decide what actually happens in the classroom."
--From the Introduction












using published materials in any given classroom is not involved with creating the materials and may have little to do with adopting the materials for her institution. However, even when the classroom teacher selects the book, knows every student in the class well and is using materials designed specifically for the context they are in, she will still have to adapt the materials either consciously or subconsciously. Materials adaptation can span a range of procedures from adding carefully

and NO buttons . . . or simply press ‘ENTER’, which is just like ‘turning the page’. The result is a kind of narrative collage, a textual kaleidoscope in which the story is cut into fragments and is constantly changing. If it’s a bit disorienting, that’s part of the idea. Instead of laying out a straight path, hyperfictions set you down in a maze, give you a compass, then let you decide where to go next. (Melrod, 1994: 163) By definition, hyperfiction is strikingly open-ended. This empowers the

paths that Borges (1941) once imagined, sometimes at a loss, sometimes helped by Ariadne’s thread (if s/he chooses to consult the map, chart, treemap or outline of links between lexias). But no matter how s/he chooses to do it, the encounter with the Minotaur is a challenge to the stability of the traditional concepts of text, author and reader. Delany and Landow (1991: 3) point out that: so long as text was married to a physical media (SIC), readers and writers took for granted three crucial

discoveries for themselves through self-investment, through intel- 44 Rani Rubdy lectual, aesthetic and emotional engagement with authentic input, through a sensitivity to learners’ readiness to learn, supported by opportunities for genuine interaction and purposeful communication. Although there is no general consensus on how languages are learned, most teachers would agree that many of these principles are precisely those which are widely believed to contribute to successful learning. A

whether to buy the book once it is chosen as the coursebook for a given course, nonetheless, clear purchase-behaviour dimensions pertain. The Students’ Viewpoint Looking at the book from the student perspective first, and at the auxiliary dimensions specifically, the physical nature or tangibility of the book, or books, if 492 Patrick Lyons we include the workbook, is significant. For the age group to which our students belong, the majority being in their late teens, their sensitivity to the

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