I am interested in how the "history" of literacy isn't really history and the implications of that for any sort of argument that literacy causes cognitive change. As Olson wrote and we touched on briefly in class tonight, there seems to be a line of theories for interpreting written texts, beginning with the text being a "boundless resource from which one could take an inexhaustible supply of meanings" to one in which "the meaning of a text is austerely anchored in the textual evidence" (p. 144). As religious texts were first written down, someone had to do the work of "fixing the text," and this occurred in the context of a oral culture in which meaning was derived from the words, but also from the illocutionary force provided by the speaker. Oral "texts" were layered with meaning, so how to convey that in written text?
I found it interesting as Olson traced these ideas of interpretation from the time of Charlemange when scholars would read texts as having much meaning beneath the words through to Luther's idea of text being an "autonomous representation of meaning" (p. 154) to the idea that readers must try to read texts thinking about how the original audience would have. My point is that these ways of interpreting don't seem to be a linear progression. Today, in 2007, we have people who read texts the way scholars in Charlemange's day did; we have those who read texts literally; and we have those who try to place texts within their historical and sociocultural context. We also have a million theories beside and within those. We still have our own ideas, whether cultural or individual, as to how texts should be received or interpreted.
Monday, February 19, 2007
Monday, February 12, 2007
Reflections on Olson (Ch. 1-5)
I found these chapters quite interesting, although some of it was over my head. Chapter 1 addressed six assumptions that I think many of us implicitly and perhaps unconsciously have about literacy. I wonder how much of these beliefs are culturally bound. For example, one of the ones Olson discussed is the belief that writing is superior to speech. Olson later says that speech is the primary tool of our mind, and writing is secondary. I think I get what he is saying, but I prefer to think of speech and writing as perhaps serving different purposes. Later Olson discusses how early civilizations used/viewed writing as a mnemonic device, and some of our writing does serve this purpose (such as notes for a speech or a to do list). But I think that other forms of writing, such as research papers and even this type of reflection, force a type of analysis that speech in and of itself does not. I am thinking more deeply and truly seeing what I understand from Olson as I write this. And the writing holds me more accountable than in a discussion where I could choose not to participate or hedge my comments. BUT, back to my comment about these beliefs being culturally bound--in our culture, academic writing is held up as a certain standard, so I think my thoughts about what writing enables me to do are tied up in the cultural value placed on it.
The second chapter addressed the possible relationship between literacy and cognition. I think this is another assumption we make because we are a "literate" society (literate as we define it) and look at all we've come up with. Again, this comes back to a culturally defined concept of literacy and what kinds of thinking are valued. Cultures that are primarily oral are still rational and logical and develop their own formal discourse (such as the maktab literacy Street studied--certain ways of setting up arguments).
I had a harder time with the thoughts on the parallel timing of literacy and classical Greek and Renaissance European revolutions. I do think that rising literacy changed or influenced thought. I believe that what we read does influence our thinking, even today. Some people are even more susceptible to this and believe anything and everything they read. Why would that not have been true hundreds of years ago? I don't think those writing/printing texts necessarily meant for that to happen, although some may have. Also, only a person with some form of power could get text written/printed, thus beginning the transmission of the culture's elite as "the" culture. What do you think?
The second chapter addressed the possible relationship between literacy and cognition. I think this is another assumption we make because we are a "literate" society (literate as we define it) and look at all we've come up with. Again, this comes back to a culturally defined concept of literacy and what kinds of thinking are valued. Cultures that are primarily oral are still rational and logical and develop their own formal discourse (such as the maktab literacy Street studied--certain ways of setting up arguments).
I had a harder time with the thoughts on the parallel timing of literacy and classical Greek and Renaissance European revolutions. I do think that rising literacy changed or influenced thought. I believe that what we read does influence our thinking, even today. Some people are even more susceptible to this and believe anything and everything they read. Why would that not have been true hundreds of years ago? I don't think those writing/printing texts necessarily meant for that to happen, although some may have. Also, only a person with some form of power could get text written/printed, thus beginning the transmission of the culture's elite as "the" culture. What do you think?
Monday, February 5, 2007
Storytelling Assignment
I recorded a story told by my boyfriend about an old friend of his that he's trying to find. Dr. Bomer mentioned that storytelling is different from conversations, almost more of a monologue, so I was looking for a cue that would signal the story as being set apart from the conversation we were having. Much like "hook" to grap a reader's attention at the beginning of a piece of writing, Ruben set apart his story with a question. "So, do you remember me talking about my friend Wayne?" I answered that I did, but that was the end of my oral participation until the end of the story. I also noticed that this particular question served to activate my prior knowledge about Wayne--that he used to work with Ruben (at a place Ruben no longer works) but he was no longer there and no one seemed to know what had happened to him. This was troubling to Ruben because Wayne had been going through several personal hardships around the time he was let go. My knowledge of these things would be important to the subsequent storytelling, and Ruben's question allowed him to gauge what he needed to repeat.
Ruben's story consisted of him relaying to me that another former coworker had called him back with a few more details about how/why Wayne lost his job. Ruben continued to hold the floor with pauses, some unintentional as he searched for seemingly important details (such as specific dates) which often he would decide weren't important enough to keep the listener waiting and would just continue with the story. The story ended with a conclusion-type statement of, "I'm sorry that story was kind of a downer." Ruben "held the floor" for a solid 10 minutes. During that time, I participated by nodding, but I did not speak, even to ask a question or give a cursory affirmative response.
Besides the way he told the story, I thought it was significant that he chose to tell me this story at all, and the setting in which he did. The story, although about Wayne, inherently relates to some very serious and personal parts of Ruben's past. I felt that he shared this with me was a way of furthering a developing bond. Although we had just eaten dinner in an intimate restaurant, he waited to share the story until we were alone in the car on the way home. Again, I felt this suggested that to Ruben, this story was both serious and personal.
Ruben's story consisted of him relaying to me that another former coworker had called him back with a few more details about how/why Wayne lost his job. Ruben continued to hold the floor with pauses, some unintentional as he searched for seemingly important details (such as specific dates) which often he would decide weren't important enough to keep the listener waiting and would just continue with the story. The story ended with a conclusion-type statement of, "I'm sorry that story was kind of a downer." Ruben "held the floor" for a solid 10 minutes. During that time, I participated by nodding, but I did not speak, even to ask a question or give a cursory affirmative response.
Besides the way he told the story, I thought it was significant that he chose to tell me this story at all, and the setting in which he did. The story, although about Wayne, inherently relates to some very serious and personal parts of Ruben's past. I felt that he shared this with me was a way of furthering a developing bond. Although we had just eaten dinner in an intimate restaurant, he waited to share the story until we were alone in the car on the way home. Again, I felt this suggested that to Ruben, this story was both serious and personal.
Sunday, January 28, 2007
Have you been to Seoul?
Not South Korea, but rather a sushi place on South Congress. That was the setting of the conversation I transcribed for this assignment.
It was bit ridiculous to record and attempt my first transcription a dinner party with 8 people at the table. Deborah Tannen I am not. It would have actually been okay, but some people just were not heard on the recording, so there are some missing comments and questions (not many, though).
The most frustrating thing for me was not being able to transcribe the expression with which people said things. Surprise, sarcasm, honest questioning, boredom--these things are heard, but difficult to put into the transcription. Or at least, for me at this point, they are. I also was frustrated that I could not record (or at times even recall) the nonverbal parts of the conversation. However, without a video, I don't know how much anyone could accurately recall these things.
One interesting thing I found was that, even after listening to the same part several times, I would type what I thought the person said (kind of like predicting the next word in reading), but when I would listen again, while I had recorded the gist of what they said, I had not recorded their actual words. After doing that a couple of times, I quit trying to type all but two or three seconds before stopping the tape, typing, and then continuing. I think this is interesting as far as its implications for how we remember conversations. We probably do usually remember the gist, but if we get the wording wrong, then at times we must remember not what the person even meant.
It was bit ridiculous to record and attempt my first transcription a dinner party with 8 people at the table. Deborah Tannen I am not. It would have actually been okay, but some people just were not heard on the recording, so there are some missing comments and questions (not many, though).
The most frustrating thing for me was not being able to transcribe the expression with which people said things. Surprise, sarcasm, honest questioning, boredom--these things are heard, but difficult to put into the transcription. Or at least, for me at this point, they are. I also was frustrated that I could not record (or at times even recall) the nonverbal parts of the conversation. However, without a video, I don't know how much anyone could accurately recall these things.
One interesting thing I found was that, even after listening to the same part several times, I would type what I thought the person said (kind of like predicting the next word in reading), but when I would listen again, while I had recorded the gist of what they said, I had not recorded their actual words. After doing that a couple of times, I quit trying to type all but two or three seconds before stopping the tape, typing, and then continuing. I think this is interesting as far as its implications for how we remember conversations. We probably do usually remember the gist, but if we get the wording wrong, then at times we must remember not what the person even meant.
Conversation Transcript
R: Here we go. I think E wants some more. I can see by the look in her eye.
E: I'm good. It was good.
S: Thanks.
R: (laughs) Carrie, are you appreciating my appetite?
C: Yeah!
(simultaneously)with C M: Did you like that movie?
A: Um, yeah. I mean it wasn't like--
M: The reaction (points to R, meaning, the same reaction he had to it)
A: Yeah, but it was- Honestly, I didn't have high expectations for it, so I wasn't disappointed, you know. It was different. I hate-it's kinda like what you were saying-I hate
R: (to someone else) Why don't you try- literally, it's vegetables.
A: That kind of graphic, you know, violence, or just-I don't know.
R: (to someone else) It's just literally tempura and vegetables.
S: What movie did you see?
M: Pan's Labyrinth. It's like-
R: You saw that? [Sarcasm; he saw it with M.]
M: But he, he was totally engrossed. Amy and I-
R: What?!
S: Is it a horror movie or-
A: No. It's actually not. And there's not that many scenes that are graphic, but the ones that are
are just like very-
M: I closed my eyes. (To the group) Have y'all seen Pan's Labyrinth?
R: I have. Oh, wait. You know that, though.
M: It's in Spanish. It's a very Mexican film director.
R: Spanish.
M: No, I looked it up. It's Mexican. But the other guy, the Pedro Almavoder, that's-
R: Volver. I saw that today.
M: Is Volver good?
R: Volver is a great movie. I-I-I-I'm not kidding. You should-you should see it with your mother if you get a chance. Like it's one of those movies that, I-I-I actually would love to see it with my mothers and my sisters. I'd probably invite my dad, though.
T: What movie?
R: Uh, Volver. It's a Penelope Cruz. It's a Spanish movie.
M: Is that why you liked that movie?
R: It didn't hurt.
E: What movie?
R: Volver. It's a Pedro Almovadar movie. It's, it's a very good movie. Kinda revolves around the
relationships between mothers and daughters. But it's a great storyline around it. It's really good.
M: Um, did you enjoy it more than Pan's? Or it's just different?
R: It's different. I actually might've enjoyed it more than Pan's.
E: Is it, um, subtitles?
M: The good thing about foreign films in the U.S. is that we don't dub them.
R: (responding to E) It is subtitled. That, both of them are, the Pan's Labyrinth and- I actually understood Volver a lot easier than I did Pan's Labyrinth.
M: Really?!
R: Yeah.
E: I'm good. It was good.
S: Thanks.
R: (laughs) Carrie, are you appreciating my appetite?
C: Yeah!
(simultaneously)with C M: Did you like that movie?
A: Um, yeah. I mean it wasn't like--
M: The reaction (points to R, meaning, the same reaction he had to it)
A: Yeah, but it was- Honestly, I didn't have high expectations for it, so I wasn't disappointed, you know. It was different. I hate-it's kinda like what you were saying-I hate
R: (to someone else) Why don't you try- literally, it's vegetables.
A: That kind of graphic, you know, violence, or just-I don't know.
R: (to someone else) It's just literally tempura and vegetables.
S: What movie did you see?
M: Pan's Labyrinth. It's like-
R: You saw that? [Sarcasm; he saw it with M.]
M: But he, he was totally engrossed. Amy and I-
R: What?!
S: Is it a horror movie or-
A: No. It's actually not. And there's not that many scenes that are graphic, but the ones that are
are just like very-
M: I closed my eyes. (To the group) Have y'all seen Pan's Labyrinth?
R: I have. Oh, wait. You know that, though.
M: It's in Spanish. It's a very Mexican film director.
R: Spanish.
M: No, I looked it up. It's Mexican. But the other guy, the Pedro Almavoder, that's-
R: Volver. I saw that today.
M: Is Volver good?
R: Volver is a great movie. I-I-I-I'm not kidding. You should-you should see it with your mother if you get a chance. Like it's one of those movies that, I-I-I actually would love to see it with my mothers and my sisters. I'd probably invite my dad, though.
T: What movie?
R: Uh, Volver. It's a Penelope Cruz. It's a Spanish movie.
M: Is that why you liked that movie?
R: It didn't hurt.
E: What movie?
R: Volver. It's a Pedro Almovadar movie. It's, it's a very good movie. Kinda revolves around the
relationships between mothers and daughters. But it's a great storyline around it. It's really good.
M: Um, did you enjoy it more than Pan's? Or it's just different?
R: It's different. I actually might've enjoyed it more than Pan's.
E: Is it, um, subtitles?
M: The good thing about foreign films in the U.S. is that we don't dub them.
R: (responding to E) It is subtitled. That, both of them are, the Pan's Labyrinth and- I actually understood Volver a lot easier than I did Pan's Labyrinth.
M: Really?!
R: Yeah.
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