Generative text production

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The Generative text production is developed by Gerlint Belke a methodological basis for the teaching of German in multilingual learning groups.

methodology

The children generate their own texts on the basis of given poetic texts. The text structure is varied by replacing (substituting) individual elements in such a way that new texts are created. The elements to be replaced are worked out together and then used by the children as building blocks for their own individual text production. In this way, children with different linguistic requirements can not only produce grammatically correct, but mostly also imaginative and aesthetically appealing texts and bring in their own world of experience and experience:

Caption 1: Susanne Stöcklin-Meier

A chicken, the eating, believe it or not,
a leaf from a rubber tree.
Went there in the chicken coop
and put a rubber ball.

Text 2: Ursula Wölfel

Come on, let's sweep the street
with the big broom.
Then we find seven things:

an old ticket,
a crooked nail,
a bird's feather,

a green penny,
a piece of candy wrapper, a shard of
a mirror,
and maybe,
and maybe
a gold button for your jacket!

Text 1a: students variant

A dog of eating, believe it or not,
a bone from a bone tree
then went he in the doghouse
, biting the dog bone.

Text 2b: Student version (unpublished):

Come on, let's sweep the football stadium
with the big broom.
Then we find seven things:

a shattered bottle,
a knocked out tooth,
a large football book,

a tattered jersey,
an oily chip bag,
a red fan pillow
and maybe,
and maybe
Totti will shoot me a new nice ball!

The grammatical phenomena in the texts are not explicitly thematized, but rather acquired implicitly by providing and using the linguistic means for the text to be written and by frequently repeating both the basic texts and the texts developed by the children: They are read out in the Choir spoken, sung, learned by heart and performed, possibly also written down and published in text collections. With text 1, the relationship between the definite and indefinite is products and the replacement of the noun by the associated pronoun , with text 2, the declination of the noun phrase (articles, adjective, noun) practiced in the accusative.

The method of generative text production combines the exercises necessary for all children to acquire the written language with two other areas of German lessons, the productive handling of literature and creative writing . Generative text production overcomes the usual separation between language and literature lessons, between German as a mother tongue and German as a second and foreign language. The method was developed in the early 1980s, when multilingual children were schooled in regular classes regardless of their knowledge of the national language German , and language lessons had to be designed in such a way that it was equally appealing and meaningful for minority and majority children . In addition, it was necessary to clarify how the language skills the children brought with them in their various languages ​​of origin could be incorporated into the common language lessons (see 1.3 in this article ).

Theoretical foundations

Generative grammar and generative text theory

The transformational grammar based on the observation that people on the basis of a limited number of rules and set of blueprints by substitutions (replacement of individual elements for the same sentence structure) and transformations (rewording for the same meaning) infinite number of utterances "generate" can. The literary scholar Jürgen Link takes up Chomsky's approach in his “generative text theory”: It “emerged from the following consideration: if Chomsky succeeded in formulating the production rules for sentences of natural languages ​​... (and thereby making corresponding sentences simulatable), then maybe it is it is not excluded to develop such a production control system for literary texts too ”. The ability to " impromptu " invent one's own text on the basis of a given poetic structure that is also familiar to the listeners is very widespread in all cultures. In the impromptu poetry, concise comments on current events are composed without preparation from the moment, in that given poetic patterns are repeatedly modified. This poetry, which was largely created orally, has a long tradition. Rhythmically and metrically highly complex stanzas developed as early as the Viking skaldic poetry and in minnesong , which were used across different languages ​​for different content. In today's literature, which is largely shaped by written culture, impromptu poetry has only survived in folkloric marginal areas, for example in the art of Gstanzl singing, which is widespread in the Alpine region . To this day, children and young people have retained the ability to repackage children's songs, poems, slogans and other more or less poetic guidelines.

Literature as a medium for communicating language

From a didactic point of view, Harald Weinrich pointed out the aesthetic function of language in acquiring and teaching a language as early as the 1980s:

“I think it cannot be overlooked that the language teaching encounters either the metalinguistic or the aesthetic function of language to the extent that it proceeds in a controlled manner. It encounters the metalinguistic function when it is conceived entirely theoretically, which is only possible and recommended for very few addressees. If, on the other hand, language lessons are aimed at those addressees who are not used to an analytical approach to language (...) then language lessons necessarily run counter to the aesthetic function of language and in this way acquire an aesthetic dimension. "

Poetic texts have a number of properties that make them appear more suitable as a medium for conveying language than a functional everyday language oriented towards real situations, content and communication needs:

  • They draw the learners' attention to the language and thereby sharpen their perception of the linguistic means used.
  • Rhyme and rhythm prevent important linguistic elements (endings and functional words) from being left out.
  • Through the mnemonic means (rhyme, rhythm, parallelism , imagery), the linguistic structures contained in poetic texts are more permanently memorized than is the case with texts that are primarily oriented towards everyday content and when dealing with technical languages .
  • A characteristic of poetry is the grouping of content-related words (paradigmatic relationships) in sentences and texts (syntagmatic relationships). Therefore, with poetic texts both sentence construction plans, i. H. Frequently occurring words ( syntagms ) as well as grammatical patterns ( paradigms ), e.g. B. the noun inflection and the verb conjugation can be acquired implicitly.
  • In children's literature , there is a striking abundance of "what-if-texts". Obviously the fictional, the hypothetical is much more interesting than the plain reality! With such texts, the subjunctive as well as the subjunctive- indicative transformations can be focused on.
  • Literature promotes the acquisition of “symbolic competence” The communication of differentiated and complex meanings in the new language is much more efficient with literary texts than with vocabulary acquisition through vocabulary equations.

Different languages ​​- common game

"Language games are more or less standardized texts that are uttered by children with playful and not primarily instrumental-communicative intent." The playful-poetic handling of the elements of language and the relationships between these elements, e.g. B. in spells , counting verses , tongue twisters , hands-on texts in the school yard, jokes and joke questions is part of a universal "natural poetry" which, according to Jacob Grimm, "originated by itself and is known everywhere". Sound, rhythm and rhyme unfold their fascination across language barriers and build bridges between the different languages ​​in our kindergartens and school classes.

The whole child is involved in the language game: the rhythm and the associated movements are initially more important than the meaning of the word. Certain elements of the language system move into the children's play world. The vowel change in " Bi, Ba, Butzemann " or " Ri-, ra-, rutsch " corresponds to the most frequently used ablaut series in the root forms of strong verbs (sing, sang, sung - drink ...) and the children also get the vowel change i / a / u "in the ear". "If one looks at playful ways of dealing with language under the question of which phenomena they bring the children into the field of their attention, one arrives at the outline of an almost complete language description, ie a grammar of the respective language."

A comparison of the structures on which the child's language game is based shows that they are based on a fixed repertoire of rules, functions and formal patterns that remain constant across time and language boundaries.

These shared language experiences that children of different languages ​​of origin and generations have when they play with their languages ​​enable generative writing across language barriers. The children compare linguistic structures in their native languages ​​with the corresponding structures in the respective national language. Text examples in different languages ​​(Polish, Italian, Turkish, Spanish) can be found in the text collection "Playing with language (s)" as well as information on the use of these texts in the context of a didactic of multilingualism in the teachers' book "Poetry and Grammar" belonging to the text collection, especially in chapters IV “Text patterns to imitate, join in and do yourself” and V “Creative writing across language barriers”.

Development, reception and implementation of the method

Generative text production in the context of a didactic of multilingualism

When children with different mother tongues were integrated into regular classes at the beginning of the 1980s, it became necessary to merge traditionally separate didactics for mother tongue and foreign language teaching. In the meantime, a new discipline, German as a second language (DaZ) has developed, the differences between DaF and DaZ have been dealt with ; At the same time, however, this has led to DaZ being outsourced and the regular teaching, which is still based on German as the mother tongue, does not fundamentally change. There is still a strict separation of DaM and DaF / DaZ didactics in research, teacher training and, above all, in teaching materials. Since the 1970s, there has also been an extensive separation between language and literature didactics (see e.g. Bredel et al. 2003). The traditional role of literature in the acquisition and teaching of conceptual written language skills has been increasingly forgotten in language didactics. Against this background, the didactic concept “Multilingualism in German lessons. Language games, language acquisition and language teaching ”has been developed. The inclusion of playful, poetic texts in generative text production enables lessons that are equally attractive and meaningful for children with DaM and DaZ. In the current curricula, which are still primarily geared towards children who bring the national language with them as their mother tongue, literature lessons are hidden behind “dealing with texts and media”. The inclusion of German as a second language is strongly recommended in additional chapters, but not integrated into a didactic of multilingualism. This has led to the fact that the generative text production was not received in the context of an integrative didactics of multilingualism, but shortened as direct practical help, as a methodological supplement that can be implemented in the context of the German lessons already practiced. Teachers' handouts are an additional extension of learning German in multilingual classes and are based on the sub-areas specified in the curriculum:

  • oral language acting
  • written language action, including spelling
  • Dealing with texts and media
  • Reflect on language

As a result, the synergy effects associated with the generative writing method remain unused: Oral and written language action, including spelling, should be understood as productive handling of texts and as targeted, implicit language teaching, because mastering the national language is the prerequisite for the required language reflection.

Implementation of the method in practice: DEMEK

The term "generative writing" is the method by which developed under the direction of Thomas Jaitner training initiative of the Cologne district government Demek ( De lish learn me hrsprachigen K can) not only become known in NRW. See also the numerous Demek sites on the Internet, e.g. B. with handouts the appearance of the primary school association Marienschule-Nordschule in Bonn; for reception see also WDR5. The training courses are based directly on the teaching problems that arise in multilingual classes, which cannot be solved either on the basis of the didactics of mother-tongue teaching taught in the training or with the help of the teaching materials available. The lesson suggestions are mostly based on Belke's collection of texts and contain many variants produced by students. As a methodical further development of the targeted language teaching, the color coding of the nominal groups has established itself (masculine blue, feminine red, neuter green, plural brown). It is also occasionally adopted in native language textbooks. As Lotte Weinrich critically notes, however, Demek materials tend to “measure the value of literary texts, the patterns of which children and young people should use for orientation”, especially “what grammatical potential the texts offer” and the content and the aesthetic Neglecting the quality of the texts.

Generative writing in secondary schools

The generative writing on the basis of elementary literature until the end of the orientation step without any problems; because the students can use the elementary structures on which the texts are based for their own expressive needs. For older students, a targeted selection of short poetic texts with language didactic comments is required. Unfortunately, such a selection is not yet available (some examples can be found at Belke). In what way prose texts , e.g. B. Children's and young people's literature as school readings can help to optimize language teaching and to make linguistic and cultural learning more efficient and attractive, is still largely unclear. With regard to generative writing, one could fall back on the production-oriented literature lessons developed in the 1990s and combine the methods recommended there for developing literary texts (e.g. playing with the material, changing text constituents, complex transformations) with targeted language support. Generative writing based on existing texts, e.g. B. Contents, summaries, combinations with other texts, nominalizations , extended genitive attributes, participle and infinitive constructions are very useful as a form of language economy . These structures can be practiced through transformations:

He has presented the facts incorrectly >> His presentation of the facts is incorrect.

We have made a proposal. It was rejected >> The proposal we made was rejected.

In science subjects, it is advisable to use text samples , e.g. B. for test arrangements, descriptions of procedures, results, which can then be varied in the sense of generative writing with regard to the current subject. Targeted language training in specialist lessons is undoubtedly very important. This also applies to literature lessons. Literature is not a superfluous luxury that only comes into play when the language is already largely mastered, but an important medium for communicating language, which gives children and young people freedom for imagination, games, creativity, poetry and music.

Evaluation

For very few methods of language teaching and promotion, adequately comprehensive evaluation studies are available. Frieg presented an initial evaluation study for generative writing as a method of language development in German lessons in primary schools . In it, she compared written texts by students from linguistically very diverse classes. The classes were either taught using generative writing or other forms of systematic language teaching, or the linguistic diversity in the classroom was hardly taken into account in the lessons. Generative writing proved to be just as effective as other forms of systematic language development, which, like generative writing, achieved better results in terms of performance than approaches in which the linguistic diversity in the classes was hardly taken into account.

Material collections

  • Gerlind Belke, Martin Geck (1996, 5th edition 2015): Das Rumpelfax. Sing, play, practice in grammar class. Handouts for German lessons in multilingual learning groups (with CD). Baltmannsweiler: Schneider-Verlag Hohengehren.
  • Gerlind Belke (2007, 5th edition 2014): Playing with language (s). Nursery rhymes, poems and stories for children to join in and do by themselves. School band - text collection. Baltmannsweiler: Schneider-Verlag Hohengehren.
  • Gerlind Belke (2007, 3rd corrected edition 2012): Poetry and Grammar. Creative use of texts in German lessons in multilingual learning groups. Teacher's volume - text commentary. Baltmannsweiler: Schneider-Verlag Hohengehren.
  • Linda Kauffeldt u. a. (2014): Jungle Dance and Monster Boogie. Singing and playing with language (illustrated songbook with CD). Baltmannsweiler: Schneider-Verlag Hohengehren.
  • Hendrike Frieg u. a. (2014): Jungle Dance and Monster Boogie. Songs for the systematic teaching of language in preschool and elementary school age (accompanying commentary). Baltmannsweiler: Schneider-Verlag Hohengehren.

Individual evidence

  1. ↑ a b c Gerlind Belke (1st edition 1999, 4th edition 2008): Multilingualism in German classes. Language games, language acquisition and language teaching . Baltmannsweiler: Schneider-Verlag Hohengehren.
  2. ↑ Gerlind Belke (2012): More language (s) for everyone. Language teaching in a multilingual society . 5. Fundamentally revised and expanded edition of the book “Mehrsprachigkeit im Deutschunterricht”, first published in 1999. Baltmannsweiler: Schneider-Verlag Hohengehren.
  3. ↑ Gerlind Belke: Playing with language (s). Nursery rhymes, poems and stories for children to join in and do by themselves. School band - text collection. (5th edition 2014) Schneider-Verlag Hohengehren, Baltmannsweiler 2007, p. 82.
  4. ↑ Gerlind Belke (2007, 5th edition 2014): Playing with language (s). Nursery rhymes, poems and stories for children to join in and do by themselves. School band - text collection. Baltmannsweiler: Schneider-Verlag Hohengehren. P. 80.
  5. ↑ Gerlind Belke (2013): 'Elementary literature' as a medium of linguistic education in the context of a didactics of multilingualism. In: kultuRRevolution. No. 65, November 2013 (= issue 2, 2013). P. 65.
  6. ↑ Hendrike Frieg et al. a. (2014): Jungle Dance and Monster Boogie. Songs for the systematic teaching of language in preschool and elementary school age (accompanying commentary). Baltmannsweiler: Schneider-Verlag Hohengehren.
  7. ↑ Link, Jürgen (1983): Elementary literature and generative discourse analysis. Munich: Wilhelm Fink Verlag. P. 164.
  8. ↑ Gerlind Belke (2007, 3rd corrected edition 2012): Poetry and Grammar. Creative use of texts in German lessons in multilingual learning groups. Teacher's volume - text commentary. Baltmannsweiler: Schneider-Verlag Hohengehren. Chapter 30.
  9. ^ Weinrich, Harald (1988): From the boredom of language teaching. In: Harald Weinrich (1988): Paths of language culture. Munich: dtv 4486, p. 236.
  10. ↑ a b Gerlind Belke (2011): Literary language games as a means of language acquisition . In: Fremdsprache Deutsch , issue 44/2011. Special issue "Foreign Language Literature". Hueber. Pp. 15-21.
  11. ↑ Gerlind Belke (2013): 'Elementary literature' as a medium of linguistic education in the context of a didactics of multilingualism. In: kultuRRevolution. No. 65, November 2013 (= issue 2, 2013)
  12. ↑ a b c d Gerlind Belke: Playing with language (s). Nursery rhymes, poems and stories for children to join in and do by themselves. School band - text collection. (5th edition 2014) Schneider-Verlag Hohengehren, Baltmannsweiler 2007.
  13. ↑ a b c Gerlind Belke (2007, 3rd corrected edition 2012): Poesie und Grammatik. Creative use of texts in German lessons in multilingual learning groups. Teacher's volume - text commentary, Baltmannsweiler: Schneider-Verlag Hohengehren. Cape. 29
  14. ↑ Claire Kramsch (2006): From communicative competence to symbolic competence. In: The Modern Language Journal 90. pp. 249-252.
  15. ↑ Claire Kramsch (2011): Symbolic competence through literary texts. In: Fremdsprache Deutsch , issue 44/2011. Special issue "Foreign Language Literature". Hueber. Pp. 35-40.
  16. ↑ Gerlind Belke (1st edition 1999, 4th edition 2008): Multilingualism in German classes. Language games, language acquisition and language teaching . Baltmannsweiler: Schneider-Verlag Hohengehren, p. 45
  17. ^ Bausinger, Hermann (1968): Forms of "People's Poetry" . Berlin: Ernst Schmidt Verlag. P. 19.
  18. ^ Haueis, Eduard (1985): Language games and the didactic modeling of knowledge structures. In: Stötzel, G. (Ed.): German Studies - Research Status and Perspectives. Lectures of the German Day of German Studies. Berlin, New York: de Gruyter. P. 661.
  19. ↑ Gerlind Belke (2007): Different languages ​​- playing together: a didactic of the own and the foreign in multicultural German lessons. In: Andresen, Helga / Januschek, Franz, eds. (2007): SprachSpiele. Freiburg im Breisgau: Fillibach Verlag. Pp. 90-118.
  20. ↑ Gerlind Belke (2012): More language (s) for everyone. Language teaching in a multilingual society . 5. Fundamentally revised and expanded edition of the book “Mehrsprachigkeit im Deutschunterricht”, first published in 1999. Baltmannsweiler: Schneider-Verlag Hohengehren. Chapter 9.
  21. ↑ Kniffka, Gabriele / Siebert-Ott, Gesa (2007): German as a second language. Teaching and learning. UTB. Paderborn: Schöningh
  22. ↑ Ahrenholz, Bernt, Oomen-Welke, Inelore, eds. (2010): German as a second language . Baltmannsweiler: Schneider-Verlag Hohengehren
  23. ↑ Bredel, Ursula, Günther, Harthmut, Klotz, Peter, Ossner Jakob, Siebert-Ott, Gesa (2003), ed .: Didactics of the German language - a manual. Paderborn: Schöningh = UTB Large Series 8235.
  24. ↑ This also applies to the most recent expertise "Education through language and writing (BISS)" by Wolfgang Schneider, Jürgen Baumert u. a., a federal-state initiative for language promotion , language diagnostics and reading promotion ( link to the website ( memento of the original from April 2, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this note. ) The "Measures for reading and language promotion" are about "reading corners in the classroom via reading mentors, material collections, book presentations, author readings and reading competitions" (cf. BISS, p. 14), undoubtedly important initiatives who overlook the aesthetic function of language in conveying language and writing, although the handling of poetic texts can better and more specifically compensate for the expected deficits in language and writing than the one-sided focus on everyday language communication, which is still propagated. @1@ 2Template: Webachiv / IABot / www.mercator-institut-sprachfoerderung.de
  25. ↑ Hoffmann, Reinhild / Weis, Ingrid (2011): German as a second language - all children learn German. Berlin: Cornelsen Verlag Scriptor.
  26. ↑ Weis, Ingrid (2014): Sprachentdecker und Textzauberer. Creative for grammar and text in German lessons in primary school. Stuttgart: Ernst Klett Languages.
  27. ↑ Primary school association Marienschule-Nordschule (PDF, 452 kB)
  28. ↑ WDR5 ( Memento of the original from April 2, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.wdr5.de
  29. ↑ Monika Lüth (2006): German lessons in multilingual learning groups. In: Cologne Contributions to Language Didactics , Issue 4. pp. 57–64.
  30. ^ Monika Lüth (2008): German Lessons in Multilingual Classes. In: Bainski, C. / Krüger-Potratz, M. (Ed.): Handbook for language promotion. Publishing house education and science NRW: Essen. Pp. 80-85.
  31. ↑ Jeuk, Stefan / Sinemus, Antje / Strozyk, Krystyna, eds. (2011): Language and reading of the das. Cornelsen.
  32. ↑ Weinrich, Lotte (2014): Sharing is fun ... and Demek lessons can also convey exciting content. In: zmi-Magazin (magazine of the Center for Multilingualism and Integration Cologne). Pp. 19-22.
  33. ↑ Gerlind Belke (2012): More language (s) for everyone. Language teaching in a multilingual society . 5. Fundamentally revised and expanded edition of the book “Mehrsprachigkeit im Deutschunterricht”, first published in 1999. Baltmannsweiler: Schneider-Verlag Hohengehren. Pp. 142-149.
  34. ↑ Inge Dahl, Werner (1991): manners. Productive methods of researching poetic literature. Frankfurt / Main: Verlag Moritz Diesterweg.
  35. ^ Waldmann, Günter (1988): Productive handling of poetry. A systematic introduction to lyric poetry, its productive experience and writing. Baltmannsweiler: Castle Library Schneider.
  36. ↑ Gerlind Belke (2005): Grammar Lessons in a Multilingual Society . In: Learning Opportunities. Promote all students! 8th year No. 48, special issue “German as a Second Language”. Pp. 16-23. Friedrich Verlag.
  37. ↑ a b Hendrike Frieg (2014). Language promotion in regular primary school classes: An evaluation of generative text production. Unpublished dissertation. Ruhr-University Bochum.