Lexical strategies
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Teaching lexical chunks
So far we have been talking about lexical chunks as if they were a single al chunks undifferentiated category. But there are different types of chunks and different degrees of 'chunkiness'. Of the different types, the following are the most important for teaching purposes: collocations – such as widely travelled; rich and famous; make do with; set the table phrasal verbs – such as get up; log on; run out of; go on about idioms, catchphrases and sayings – such as hell for leather; get cold feet; as old as the hills; mind your own business; takes one to know one sentence frames – such as would you mind if... ?; the thing is ...; I'd... if I were you; what really gets me is ... social formulae – such as see you later; have a nice day; yours sincerely discourse markers – such as frankly speaking; on the other hand; I take your point; once upon a time; to cut a long story short... Within these categories further distinctions can be made in terms of fixedness and idiomaticity. Fixed chunks are those that don't allow any variation: you can say over the moon (to mean ecstatic) but not under the moon (to mean not ecstatic). Nor over the full moon, over the sun, etc. Many chunks are semi-fixed, in that they allow some degree of variation. Nice to see you is semi-fixed in that it allows lovely, good, wonderful, etc. in the nice slot, and meet, talk to, hear from, etc. in the see slot. Some chunks are transparent in that the meaning of the whole is clear from their parts, as in the case of as old as the hills and to knock down. Others are much more idiomatic: to spill the beans and to knock off (meaning to steal). Neither fixedness nor idiomaticity are absolute values, however. Rather there is a cline from very fixed to very free, and from very idiomatic to very transparent. Phrasal verbs are a case in point. Some phrasal verbs are syntactically flexible: I'll bring up the paper or I'll bring the paper up. Others are not: I can't tell the twins apart but not I can't tell apart the twins. Moreover, the combination bring up has a range of meanings, some literal (I'll bring up the paper), some semi-idiomatic (Don't bring that subject up again) and some very idiomatic (They brought their children up to speak Italian). The ability to deploy a wide range of lexical chunks both accurately and appropriately is probably what most distinguishes advanced learners from intermediate ones. How is this capacity developed? Probably not by learning rules – as we saw with word formation, the rules (if there are any) are difficult to learn and apply. A lexical approach is based on the belief that lexical competence comes simply from: frequent exposure, and consciousness-raising To which we could perhaps add a third factor: memorising Classroom language provides plentiful opportunities for exposure to lexical chunks. Many learners are familiar with expressions like I don't understand and I don't know long before they have been presented with the 'rules' of present simple negation. By increasing the stock of classroom phrases, teachers can exploit the capacity of chunks to provide the raw material for the later acquisition of grammar. Many teachers cover their classroom walls with useful phrases and insist on their use whenever an appropriate opportunity arises. A sampling of phrases I have noticed on classroom walls includes: What does X mean? How do you say X? What's the (past/plural/opposite, etc.) of X? Can you say that again? Can you write it up? How do you spell it? I'm not sure. I've forgotten. I left it at home. I haven't finished yet. It's (your/my/his) turn. You go first. Here you are. Pass me the ... Let's have a break. etc. The repetitive nature of classroom activity ensures plentiful exposure to these chunks. This is vital, because occasional and random exposure is insufficient. Many learners simply aren't aware if a combination is one that occurs frequently (and is therefore a chunk) or if it is a one-off. Nevertheless, there is more chance of encountering instances of chunking in authentic text than in text that has been 'doctored' for teaching purposes. This is yet another argument for using authentic texts in the classroom, despite the difficulties often associated with them. Here, for example, is an extract from a fairly well-known authentic text: Yo, I'll tell you what I want what I really really want, So tell me what you want what you really really want I'll tell you what I want what I really really want, So tell me what you want what you really really want I wanna I wanna I wanna I wanna I wanna really really really wanna zigazig ha If you want my future, forget my past, If you wanna get with me, better make it fast Now don't go wasting my precious time Get your act together we could be just fine ... If you wannabe my lover, you gotta get with my friends Make it last forever, Friendship never ends If you wannabe my lover, you have got to give, Taking is too easy but that's the way it is. What d'ya think about that? Now you know how I feel. Say you can handle my love, are you for real? I won't be hasty, I'll give you a try If you really bug me then I'll say goodbye (from Wannabe by the Spice Girls) Like many pop songs, the lyrics of this song are rich in lexical chunks, including sentence frames (I'll tell you what I...; what I really [really] want [is ...]; If you wanna ... better ...; If you really, then I'll ...), collocations (wasting my precious time; last forever; taking it... easy; give you a try), and catchphrases (better make it fast; get your act together; that's the way it is; are you for real?). How could you use the above song text? Essentially, the approach need not be very different from the approach to the legal English text on page 110. That is: check understanding of text (for example, by eliciting a paraphrase or translation of the text) using transcript, set tasks focusing on features of words in combination Examples of such tasks might be: • Underline all contractions. Decontract them (i.e. wanna = want to) • Find examples of these sentence patterns in the song: ... tell... what... If you ... imperative ... If you ... you have got to ... If you ... then I'll... • Write some more examples, using these patterns, that would fit the theme of the song. • Use examples from the song to show the difference between tell and say. Here are some more ideas for teaching collocation: Learners sort words on cards into their collocational pairs (e.g. warm + welcome, slim + chance, golden + opportunity, lucky + break, mixed + reception, etc). Use the same cards to play pelmanism. Or they sort them into binomial pairs (pairs of words that follow a fixed sequence and often have idiomatic meaning such as hot and cold, to and fro, out and about, sick and tired). Or into groups, according to whether they collocate with particular 'headwords': e.g. trip (business, day, round, return, boat), holiday (summer, family, public, one month, working) and weekend (long, every, last, next, holiday). Follow up by asking learners to write sentences using these combinations. Read out a list of words: learners in groups think of as many collocations or related expressions as they can. The group with the most collocations wins a point. Good words for this include parts of the body (face, head, back, foot, hand), colours (red, green, blue, black, etc.) and opposites, such as weak/strong, narrow/wide, safe/dangerous, old/young, etc. Fill in a collocational grid, using dictionaries, to show common collocations. For example, here's a very simple (and completed) one for wide and broad.
Ask learners to prepare 'collocation maps' of high frequency words and their collocates. Words like have, take, give, make and get lend themselves to this kind of treatment. They are often used in combination with nouns to form an expression which has a meaning of its own, as in have a look, take a break, give advice, make an appointment, so that the verb itself has little or no independent meaning. For this reason, they are called delexical verbs. Here, for example, is a collocation map for have, which shows its range of collocations organised into meaning categories: Learners can either create their own maps using dictionaries or add to an existing map, as this task (also from Cutting Edge Intermediate) suggests: Because of the two-part nature of collocations, any matching activities lend themselves to work on them. Similarly, odd one out tasks are useful. For example: Finally, as a general approach to the teaching of lexical phrases and collocation, the following advice is sound: Become more aware of phrases and collocations yourself. Make your students aware of phrases and collocations. Keep an eye on usefulness and be aware of overloading students. Feed in phrases on a 'little but often' basis. Introduce phrases in context, but drill them as short chunks. Point out patterns in phrases. Be ready to answer students' questions briefly. Keep written records of phrases as phrases. Reinforce and recycle the phrases as much as you can. (from Cutting Edge Intermediate Teachers' Book, Longman) Phrasal verbs are another instance of the fuzziness at the boundary between words and grammar. They are particularly problematic for learners both because of their lexical meanings (which are often idiomatic) and their grammatical form. Here is how phrasal verbs are often grouped, according to their grammar: 2 There are four types of phrasal verb. Type 1: intransitive e.g. come to (recover consciousness) These don't take an object. Type 2: transitive inseparable e.g. look into (investigate) These must take an object which always comes after the verb. Type 3: transitive separable e.g. put off (postpone) The object can either come between the verb and the particle or after the verb. If we use a pronoun then it must go between. Type 4: three-part, e.g. put up with (endure) These are always transitive inseparable. from Naunton J, Think Ahead to First Certificate, Longman Traditional approaches to the teaching of phrasal verbs have tended to focus on these rules. Hence, when phrasal verbs are presented they are categorised according to whether they are Type 1, Type 2, etc. They are also often grouped according to their lexical verb (that is, the word that carries the major share of the meaning): get up, get back, get off, get over, etc, and exercises are designed to test the learner's knowledge of the difference. For example: Use phrasal verbs with get to complete these sentences: 1 I can't ________ how much Julia has changed: it's amazing! Excuse me, I want to ________ at the next stop. The concert was cancelled so I'm going to see if I can ___________ my money ___________. Typical exercise types used in the teaching of phrasal verbs include: sentence gap-fills (as the example above) re-phrasing: e.g. changing the verb in the sentence (e.g. depart) to a phrasal verb that has a similar meaning (e.g. set off) matching: e.g. matching the phrasal verb with its synonym More recently, exercise types have focused on the meanings of the particles – a particle being the adverb or preposition component of the phrasal verb (in, back, off, around, etc). A focus on particles aims to sensitise learners to the shared meanings of a group such as carry on, drive on, hang on, go on and come on. Here, for example, is an exercise sequence that deals with the particle down: We've seen that many phrasal verbs are idiomatic – in that their meanings are not easily unpacked from their component parts. Knowing the meaning of put and up allows us to interpret the sentence I put up a shelf in the kitchen. But this knowledge is not much help in unpacking either I put Luke up for the weekend or I put up with Luke for the weekend. Both these last examples are idiomatic. Idiomaticity exists at both the single word and multi-word level. Individual words can be used figuratively, as in This plan doesn't grab me; The kitchen is a pigsty; I can't unpack the meaning of this idiom. More typically, idioms are formed from collocations, and vary from being both very fixed and very idiomatic (smell a rat; the coast is clear) to being both less fixed and less idiomatic (explode a myth/theory, etc; run a business/theatre, etc). Idioms present problems in both understanding and in production. They are difficult to understand because they are not easily unpacked, and they are difficult to produce because they often allow no variation. Few errors sound more comical than an even slightly muddled idiom (e.g. I don't want to blow my own horn, instead of I don't want to blow my own trumpet). Moreover, many idioms have a very narrow register range, being used only in certain contexts and for certain effects. They therefore need to be approached with a great deal of caution, and most teaching guides recommend teaching them for recognition only. Traditional teaching approaches tend to group idioms together according to some category, and present them in sets. But, as with phrasal verbs, teaching a set of idioms that are notionally related – such as idioms associated with parts of the body (down at heel, put your feet up, foot the bill, toe the line, etc.) – would seem to be a sure recipe for confusion. It's not difficult to imagine what could go wrong: put your heels up, toe the bill, etc. More typically, idioms are grouped by theme. For example, the expressions under the weather, off colour, run down and out of sorts are all synonymous with ill. But again, if these are being taught for production, the potential for confusion is high. As with phrasal verbs, a more effective and less perilous approach might be simply to teach them as they arise, and in their contexts of use. That is, to treat them as individual lexical items in their own right, without making a song and dance about them. Since idioms tend to cluster together, certain text types are often very rich in them. In this extract (from Sugar) idioms (including idiomatic phrasal verbs) are underlined. Eastenders Martin gets a big wake-up call this month when Mark is taken seriously ill. How will he cope knowing his big bro's days could be numbered and will Nicky stick by him through thick and thin? Home and Away Tom offers to pay for Justine's courses in the city with the money 1 earned from acting in the commercial. What a sweetie, eh? However, Justine isn't that impressed, and feels that Tom's cramping her style. Ho can she let him down gently? Coronation Street The Mike, Mark and Linda triangle's still going strong, and sparks are beginning to fly between Linda and Mark's new girlie, Claire. Eeek! Things aren't too good over at the Platt's either. Emmerdale Mark is annoyed when neither of his parents make it to the parent evening ... how embarrassing! Richie lends Sarah a shoulder to cry on after yet another bust-up with Jack. Will those two ever get on? To use a text like this in class, learners could be set the task of working 01 the underlined idioms from either their form or their context. For example, going strong is easily unpacked from its components. Sparks are beginning to fly is less obvious, but its negative connotation can be deduced from what follows (Eeek! Things aren't too good...). Showing learners how to work on idiomatic meaning from these kinds of clues can not only contribute t passive vocabulary knowledge but can improve reading skills as well. Conclusions There is more to words than simply 'words'. In this chapter we have seen: how parts of words combine in systematic ways to form whole words how whole words combine in systematic ways to form chunks But, the fact that these combinations are systematic does not mean that the teaching of word formation or of word combination should necessarily be rule-based. The systems may be too complicated or too irregular to be of much use to learners, either for receptive or productive purposes. Instead, an approach that combines frequent and contextualised exposure with consciousness-raising may work best. This is recommended for the teaching of: composite words collocations phrasal verbs idioms Yüklə 225,95 Kb. Dostları ilə paylaş:
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