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The Spoken Word

The Written Word

The Printed Wordand

The Electronic Word

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The spoken word.

Nafeesa Monroe reciting poetry

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.involves allthe senses.

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Characteristics of the Spoken WordBehaviors ling!istic patterns ass!"ptions c!lt!ral#

regional# socio$historical conte%t previo!s or sharedknowledge role and sit!ational aspects.

&nterr!ptions repetitions forgetting i"precisionla!ghter attit!des# points of view changes of tone ofvoice linking words hesitation words or so!nds#

asking for ti"e to think '(holding the floor)* o"issions'ellipsis* elisions red!ctions changes ofpron!nciation according to degree of for"ality orinfor"ality of the conversation# or to e%press h!"or.

&ntonation tone rhyth" stress speed vol!"e.

Body lang!age facial e%pressions gest!res signals.

&nt!itive or psychic aspects.

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+ What are so"e

stories# legendsor ,eliefs in yo!rco""!nity-

+ Who is the ownerof this infor"ation-

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Each mother tongue teaches its users a way of seeing and

feeling the world which is very unique. 'Marshall Mc!han#/nderstanding Media*

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(The do"inant scientific worldview of todayevolved fro" E!ropean lang!ages# with theirco""on roots and close relationships. Theselang!ages are str!ct!red in a way which forces!s# when we speak or write a,o!t o!r world# tothink and speak of the" in ter"s of 0no!n$things1and 0ver,$actions1. This lang!age str!ct!re 2

taken for granted in English and in other &ndo$E!ropean lang!ages 2 gives is a worldview# assoon as we ,egin to speak as children# in whichwe really see the world "ade of separate thingswhich are still 'no!ns*# or which "ove or are"oved in relation one to another 'ver,s*. Thereason# logic and "athe"atics of scientists areall ,ased on this way of dividing the world.

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(So"e h!"an lang!ages do not "ake o!rkind of distinction ,etween no!ns and ver,s.3ather# the world is seen thro!gh certainlang!ages as a design of processes interwoventhro!gh ti"e. The speakers of 4opi or Nootka#for e%a"ple 2 ,oth 5"erican lang!ages $ ...havee%pressions which do not separate the light for"its shining# or the water fro" its fall&n s!chlang!ages of process# poeple do not conceive ofti"e as co"posed of a series of 0things1 calledseconds# "in!tes and ho!rs. They see ti"e asthe changes in things# which is the way in whichphyisicists now !nderstand ti"e.

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(.Einstein once s!ggested toBen6a"7n ee Whorff# who st!diedand wrote a,o!t the differences,etween lang!ages# that it wo!ld ,e

easier to descri,e the discoveries of"odern Physics in the 4opilang!age than in English .The

lang!ages of process are "!ch "ores!ita,le for organic world viewsrather than "echanical world views.)'Eli8a,et Sato!ris# Earthdance*

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The written word.

.only involves the eye

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(&n the world of the ancientEgyptions# 4ind!s and

5,originals# ,efore the9reeks# there e%isted thedrea"# trance and "yth#inter"i%ed with dailye%istence. With the

philosophers of 9reece# anew level of conscio!snesswas ,eg!n# rational do!,tand reason# as toold toinvestigate reality# the

fo!ndation for a co"pletelynew concept of ti"e andspace

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(The ca!se# according to MarshallMc!han# was the alpha,et# an easy$to$!se co""!nication syste"# whichred!ced tho!sands of i"ages to :;sy",ols in se

line. &t was the first a,stract art for",eca!se each letter is divorced fro"the i"age 2 one sy",ol for one

so!nd 2 and this "ay have ca!sed#s!,li"inally# the a,ility to thinka,stractly) 'Shlain =>>?*

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The ideogra"# hieroglyph# and code% are i"ages with "!ltipleoverlain concepts.

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@ A D F G H I J K L O

( The alpha,et threads these concepts together in the for"

of words and sentences# whose "eaning depends ontheir linear se

(The linear code reinforces the ,elief that one thingfollows another# so alpha,ets s!,tly i"pose ca!sality onthe tho!ght processes of those who !se the".)

(/sed ,y the 9reeks for a long ti"e# the alpha,etreinforced three aspects of !nderstanding a,straction#linearity# and contin!ity.)

'Shlain# =>>?*.

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Writing gives !s (an eye for an ear.)

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Many a page of prose and

many a narrative has beendedicated to expressing what

was, in effect, a sob, a moan, alaugh, or a piercing cry. The

written word spells out in

sequence what was rapid andimplicit in the spoen word.'Mc!han# /nderstanding Media*

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!n the Middle "ges, writing was more of a craft than a technology.

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&ll!"ined Medaeval Man!script

+ T4e "an!script ofthe Middle 5ges waswritten and

ill!"inated ,y hand.There was no conceptof a!thor# nor ofownership of

knowledge. With theprinting press# all thiswas going to change.

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The Printed Word

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The 9!ten,erg egacy

The printing presswith its "ovea,letypes accelerated thediff!sion ofknowledge.

The ,ook# ,y

ho"ogeni8inglang!ages# helpedcreate Nationalis".

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The 3enaissance saw theinvention of "ovea,le type ,y9!ten,erg in =;QQ. Theprinting press# with its"ovea,le types# reinforcedthat we think linearly and inse

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The printing press# ,yseparating the a!thorfro" his work# gave,irth to the concepts ofintellect!al propertyand copyright.

R

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The Electronic Word

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(5fter three tho!nsand years of e%plosion ,y"eans of frag"ented and "echanicaltechnologies# the world is i"ploding.)

Marshall Mcl!han.

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Where are the st!dents-

+ The classroon#reflecting theind!strial environ"ent

of the =>th Cent!ry#has ,een a,andonedin favor of co"p!tercenters# where

st!dents an%io!slysearch forinfor"ation.

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+ Through electronic media,

the world been convertedinto a global village.

+ "lso, humanity is developinga new holistic perception, ofwhole systems, in whichclassification of data yields topattern recognition.

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Electronic technology invites us to explore new

literacies, including all inds of new languages and

new vocabularies in our wor# visual and auditory,

iconic and alphabetic, photographic and verbal. $%amie Miles.

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The personal computer has revolutioni&ed thestructure of communication, hiding beneath itsastonishing versatility and consumer attraction, abold transition to electronic culture. 'nhinderedby the limitations inherent in conventionalprinting, digital text has introduced a radicallynew medium of expression. !nteractive, volatile,blending word and image, the electronic wordchallenges all all of our assumptions about

artistic, educational and political discourse.

$(ichard ". )anham

( The old nor"s of cop right

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(The old nor"s of copyrightand possession of

intellect!al property si"plyare not applica,le to the!niverse of knowledge incy,erspace...

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(ne key aspect of this for" of te%t is how easily itcan ,e reco",ined with other te%ts. The a!thor1s

own te%t ,egins to interact with other so!rces of(

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(Even printing# apparently hard andi""!ta,le# has co"e to ,e seen as

so"ething p!rely provisional# ,eca!sea new one incorporating changes can

,e prod!ced at whi"...

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(.The word processor greatly e%tends thefl!id stage of the te%t# a,olishing the sense ofdiscrete co"positions and converts thedoc!"ent into a long# contin!o!s doc!"ent....

*i h l i i i h i f i d d i

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*ith electronic communication, the notion of a static and owned text is once moredissolved into the fluidity commonly achieved by by oral culture. + (ichard)anham

& li ti f l

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&"plications for lang!ageteaching *hat do you see *hat do you thin

Be aware of the changes ofperception ,ro!ght a,o!t,y each "edi!".

Beco"e aware of thecharacteristics anddifferences ,etween thespoken# written# printedand electronic word.

/se appropriate "ethodsand "edia# printed aswell as electronic# to

teach listening# speaking#reading and writing.

Bibliography

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Bibliography

Brent, DougOral Knowledge, Typographic Knowledge, ElectronicKnowledge: Speculations on the History of Ownership,http:www!ucalgary!cae"ournalarchi#erachel#$n%article!ht&l

'ohnson (ir)n, *ebe+a -r, Helping Students .nderstand /uthenticSpo+en English, T0sis 1222 '(*, 3entro de 4dio&as, .ni#ersidad/ut)no&a Benito 'u5re6 de Oa7aca

8anha&, *ichard, The Electronic 9ord, De&ocracy, Technology andthe /rts, .ni#ersity of 3hicago ress, $;;%