A Framework for Understanding Poverty

A Framework for Understanding Poverty Read Online Free PDF

Book: A Framework for Understanding Poverty Read Online Free PDF
Author: Ruby K. Payne
meanings. The first meaning is the manner in which the information is organized. In the formal register of English, the pattern is to get straight to the point. In casual register, the pattern is to go around and around and finally get to the point. For students who have no access to formal register, educators become frustrated with the tendency of these students to meander almost endlessly through a topic. It is simply the manner in which information is organized in casual register.

    LANGUAGE ACQUISITION IN PRIMARY AND SECONDARY DISCOURSE
    The other meaning associated with discourse is the notion of primary and secondary discourse issues (Gee, 1987). Primary discourse is the language an individual first acquired. Secondary discourse is the language of the larger society that the individual must be able to use to function in the larger society. For example, if a student has as his/her primary discourse casual register of Spanish, then he/she must also learn formal register of English in order to fully negotiate and participate in the larger American society. Gee points out that students do much better in school when their primary discourse is the same as their secondary discourse.
    RAMIFICATIONS
    Gee proceeds to make a distinction between acquisition and learning. Acquisition is the best and most natural way to learn a language and is simply the immersion in, and constant interaction with, that language. Learning is the direct-teaching of a language and usually is at a more metacognitive level. However, what Gee does not talk about is the following: acquisition of language only occurs when there is a significant relationship. That then leads to the next question: To what extent can a formal institution create significant relationships? Just think ... would you learn to use sign language well if there were no significant relationship that called for that usage? Would you learn to speak Chinese well if there were no significant relationship?
    Therefore, when we ask students to move from casual to formal register, we almost need to direct-teach it. Natural acquisition of formal register would require a significant relationship.
    Montano-Harmon (1991) found that for students to move from casualregister English to formal-register English required them to translate because the word choice, sentence syntax, and discourse pattern are different. This translation becomes much more meaningful if there is a significant relationship. However, if there is not a significant relationship, then the instruction must be more direct.

    PATTERNS OF DISCOURSE
    In the oral-language tradition in which the casual register operates, the pattern of discourse is quite different. Discourse is defined as the organizational pattern of information (see graphic representations below).
    Formal-Register Discourse Pattern

    Casual-Register Discourse Pattern

    How does this make a difference for students and teachers? First of all, parent-teacher conferences tend to be misunderstood on both sides. Teachers want to get right to the point; parents, particularly those from poverty, need to beat around the bush first. When teachers cut the conversation and get right to the point, parents view that as being rude and non-caring. Second, writing becomes particularly difficult for students because they tend to circle the mulberry bush and not meet the standard organizational pattern of getting to the point. This discourse pattern is coupled with a third pattern, that of story structure (see next page).

    STORY STRUCTURE
    Formal-Register Story Structure

    The formal-register story structure starts at the beginning of the story and goes to the end in a chronological or accepted narrative pattern. The most important part of the story is the plot.
    Casual-Register Story Structure

    The casual-register story structure begins with the end of the story first or the part with the greatest emotional intensity. The story is told in vignettes, with audience participation in
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