Good morning, everyone.
Welcome back.
We are just about to be used to these frightening
people here.
You just released and that we have to say so.
It's my pleasure to be here.
Let me just check
that you have some
information about you. Yes.
So it is my pleasure to hit the floor of 66
here with us to talk about.
And I'll give you this patient and
her that action.
You started soliciting lessons from the unexpected.
And let me introduce at CNN
all seven U.S.
studies a specialized translation by the University of Sarah Watson,
as well as a teach in Spanish language,
University of Hong Kong Genetics in Spain.
In the past, she has worked as a teacher
of the degree of English studies at the University of Alberta.
And I said that you have a Spanish as a foreign language at Boston
College in Texas, throughout the Fulbright and Grant,
as well as the University of Galway in Ireland
and at
the University of Manchester in the UK.
She currently works as a teacher, being used for specific
purposes, etc.
She's also a part time Ph.D.
student at this house.
Her research focuses on the publication of college speech
and the teaching of Spanish as a foreign language,
with a focus on its impact on the dramatic city
of prominence promoting overproduction.
The first results of this research were published in December 2022
in the You Show Translation
and a second publication is scheduled for this march as a chapter
edited by but insisted on the outcome.
So welcome to the honor.
I think your position is going to be very interesting
because you are dealing with Spanish US language
and we have been on time listening to you for language,
these waves and optional.
Yeah. So that's nice.
Okay. Thank you very much for your introduction.
So just to give a really quick overview of my presentation,
I'll give a quick introduction
and then I'll move on to the theoretical framework,
which includes, of course, deductibility description in Spanish.
But I'm going to
then I'll describe the experiment with all these essential elements,
and then I'll focus on the main thing in this presentation,
which is the analysis of Non-target Productions or unexpected productions,
both from a quantitative and qualitative for review
and then I'll discuss what that means in relation to the productions
that were expected, which were initially the main
objective of the research, and then just finally.
Offer some concluding remarks and.
Good results.
So as everybody knows by now here, did I think audio
audiovisual translation is the active use
of different modes in the French language classroom
or for other pedagogical purposes where students are actively engaged,
be carrying out the subtitling or the dubbing
or the audio description or voicing commentary, any other mode.
So it is within deductibility description that this presentation
lies in.
Let's see a little bit more about that.
So what your description is a mode of audio visual translation
which promotes accessibility toward visual products.
It has a certain amount of features which make it a bit
special or different from other types of translations.
So it is interesting.
It goes from images to words.
So it's cross moral in nature and it also have certain
cognitive features that make it again a little bit more singular
or at least different from other modes,
because it involves different mental processes and
processes in the translator.
So, so a lot of
people will they see they cannot see station facial.
So dog clicks.
Yeah, I don't know what happened
because I, we did.
We did share and then share screen.
That's what. We're doing.
And so it's the idea of Okay.
And then we did. Screen, which.
Is what okay, you like to see
your quality.
I mean, when I
was Google
and Facebook, I yeah, I was
always conciliatory up on. The.
Video.
I would like to
so and.
This I'm in.
Estella I will accompany to actually
go into the elements
and I know
again.
Will see all of.
That you see
so. My.
Okay. Well.
I feel.
Okay maybe that.
Yeah.
Is everything working now.
The other request was much.
All right thank you.
Should I go All right. Yeah.
So yeah.
Audio, visual translation.
It's very special.
It's got very special features.
It involves different mental processes in the translator because of all
the interesting beauty city, and that has led to exploring
what could be done with it in terms of foreign language learning.
Um. Several experimental studies have been carried out,
focusing in different areas such as linguistic skills,
speaking skills, integrated skills, intercultural skills,
more recently in mediation or accessibility awareness.
And I'm sure I'm missing some important things
and some important names,
but this is just a quick overview of what's been done so far.
And the question is what else could we do without you?
Description. So
as I've said, all description has a very clear communicative goal,
which is visual accessibility, where being idiomatic is essential
in order to convey the meanings
and to to communicate naturally to the viewer.
So when students are carrying out
an audio description, they must select content
and also decide how to express it, which in other modes of translation
they focus on the expression because a content is given to them.
But in this case they have to be selecting different elements.
So they have to kind of go back and forth,
paying attention to the forms
and structures of the language, but also the meanings
and how those meetings are created through the structures and whether
those meanings are the intended ones, whether it comes natural.
So it has all of those mental processes,
which in other words, it enables us to explore
together language and thought and how we conceptualize the world
and focusing on how how
we construct meanings through words and different structures.
And that's already been done.
So that allows us to focus on specific grammatical features
such as pronouns or phenomenal verbs, which is the case
because the object of that in my in my experiment here as well.
But this is all thanks to these
characteristic of audio visual translation of audio description
that goes back and forth from language to thought and the way
mental images are represented.
So was the deal was finished for nominal verbs.
They're a highly controversial topic
because they're very complex and very varied.
So in a nutshell,
for nominal clauses, say
at the end of an infinitive, which then you have to move to
the front of the verb and conjugation and change it for each person.
So city comes,
you're liable for the first person and syllable for the third person.
And this is an example.
These are reflexive, but this is just one type of nominal verbs.
There can be many more configurations and they can express
very subtle or some semantic or pragmatic connotation.
And so, for example, we have a fairly what are that or what others say
where, where that
could just mean like cutaways or what that puts away the jaws.
But when we say so, what are that?
As Hoyas, it brings in a different idea.
Like, is it doing it for his benefit?
Is it doing it somehow?
Like you know, Rush or really or sneakily, which is very hard
to determine and is often linked to the context.
So this could be called a nuance marker.
And that's really challenging for students of foreign languages.
And that's because that's why some researchers
have actually name for nominal verbs,
said Mark, of the true master of Spanish,
which might be an overstatement, but it is definitely very hard to to
to domestic.
So these characteristics contradict
some basic principles of language processes such as semantic
transparency or the 1 to 1 form function correspondence,
and also in many languages they don't have four nominal verbs.
For example, in English they don't exist.
So that also is another challenge, and it's been said that
just being exposed to structure reach input is not enough to notice them
and to discern the different nuance that can be expressed through them.
So those are challenges for students
which result in a gradual acquisition.
So some of the easier times reported earlier, more complex times
types later, but maybe they never really grasped
the difference between some of the uses
because they're actually very different for
native speakers or Spanish.
L speak speakers.
So the consequences of these are that students tend to either
omit the pronoun or use it when they should not use it.
So omission
or overgeneralization errors in both cases it speed in the city,
but we have challenges for teachers as well.
So one of them is that there's a lack of comprehensive materials
to teach for nominal verbs.
For example,
there is no nominal verb element in this online curriculum,
which is kind of a
go to for Spanish of teachers, of Spanish to foreign language.
You find some phenomenal verbs and uses scattered here
and there are through levels of competence, but not consistently.
And it's very hard to understand patterns in acquisition.
So what are the intersections between the characteristics of these
verbs and how learners
learn them or acquire them?
And also, it's not clear
which is the most effective approach to teach them within,
especially within meaningful communication,
and not just like focusing purely on the grammar of them.
So we wonder
whether all your description could help in this respect.
So the departing points of my experiment are, of course,
previous research by what I know and the Merlin,
who explored audio description in a position language
translation to BuzzFeed images sitting in front of me over production.
And they were based on this idea that the absence of explicit content
in the first language in the students first language
would reduce negative transfer.
And this promoted images.
So they thought idea description is like this, like direct writing.
So maybe it happens you.
So I based
my research on there is no replicated my study with English.
Speaking students.
So my research questions will sound familiar
to anybody who was in their presentation yesterday.
So first of all, I ask, is there a difference in fundamentals
or production in interest in your degree, in language translation?
In my case, for English and Spanish and my hypothesis,
I also hypothesis is yes.
And that it would be in favor of translation.
Then I ask whether prior exposure to or use of those verbs
can, in context, in a communicative context, can promote production.
So my hypothesis was that, yes, that therefore
they would be more in the tests that they did in the second place.
And finally, whether production varies for different types of birds,
and I hypothesize that yes.
And that the more complex they were, the less students would produce them
or the more errors they would make, the less idiomatic they would sound.
So these experiments pilot experiment was carried out
at the University of Manchester between 22 and 19
within a course called Spanish Language five told at the B2 level.
So Project sessions were embedded in sessions for this module.
The tasks project tasks were not compulsory, were not part
of the compulsory assessment, and attendance
to module sessions were not compulsory either.
So that has an impact on the results.
So that's why I speak of 96 potential participants.
There were 96 students enrolled in the course,
but not all of them completed the tasks.
Not all of them came to class.
So it's a bit difficult.
And the most important feature there is that none of them
had any previous audio description experience, not actively.
They were familiar with it. Some of them were familiar with it.
Some of them had never heard of it, but definitely none of them had tried
writing or creating an audio description before.
So I also use the
two clips from Touch Points, this movie by video in 2005.
The two clips are approximately 4 minutes long each.
They are consecutive self-contained scenes,
which makes it easier to kind of just like
get into that and understand what's going on.
There are a few characters all named and there's lots of action
and plenty of gaps for description
as there's very little dialog said suitable for use.
The first time might be described,
and I also use the script, the official Spanish script,
which contains lots of four nominal words, 15
in the first one for the first scene and 26 for the second scene.
Varied types, but also similar types from one clip
to another and similar uses.
So it enables comparison between the.
First and the second.
And else use the English translation of the Spanish script,
which I carried out myself.
So there were four sessions
across seven weeks, an introductory one to writing sessions, one
for each of the tasks and a feedback and reflection session in between.
There was also some out of class work that's. So.
Relevant here.
So for the 80 tasks, students could watch the clip
as many times as needed, but for the translation
they were told to rely on the text only
and they were allowed dictionaries for both.
They worked in groups, which is also a factor.
And I used to pre experimental design, so I did not have a control group.
I had two experimental groups.
Both groups did all the tasks.
So both groups did all the description and translation, but they did them
in the opposite order there because that enabled us to explore
factors such as the order of tasks
and compared with the type of tasks and different other.
How that affects for nominal production.
Okay, so the main object of research was whether for each for nominal verb.
In the official script, students also produced a nominal verb or not.
So I collected all of those cases through their scripts
corresponding to actions that had been expressed
with a nominal verb in the official script.
Those are the expected productions.
However, as I was doing that, I discover that they had been using
lots of per nominal verbs which did not correspond to
actions expressed with a nominal verb in the official script.
So those were unexpected, phenomenal verbs.
There were lots of them.
Like what? You're using improvement over here.
So I started collecting them and that's the main focus of these papers.
So all of those were nominal verbs that I did not expect students
to produce.
So as I said, these non-target items or unexpected productions
referred to either actions that were not present in the official script.
So that just meant that students selected different content
or two actions that were expressed with a number nominal certain
in the script there were a total of 131 such items.
Eight of them referred to actions that were not in the original script
and 123 to actions that were expressed with a number nominal.
So the one on the top Lando say
that's something that
the official strip does not mention, but a student decided to add.
And the second one semester order, that's a nominal where the official
script says meet I'll know you like that's the same action.
They're describing it differently, but it refers to the same action
and the student uses the nominal verb.
So there were more of these unexpected
for nominal verbs in translation 72 versus 59.
In order descriptions distributed by groups.
This is how it looked.
So there were there was an increase from the first task to the second
task for both groups, more noticeable for the first one,
which went from 35 to 50.
And so that's more noticeable for that one.
But in terms of translation, there were more in
when it was done in the second place, in terms of order of description,
there were more when it was done in the first place.
So this is really hard to understand how the, you know,
if there is any patterns in this production
in terms of production by different types of for nominal verbs.
Oh, well, okay. All right.
So more and more times in the second task, I can go back to that.
It's interesting because of correctness,
there were more correct cases in inter lingual translation as well,
which is interesting.
But the fact that for some
that for the second group there was an improvement
from the first to the second, it means that they improved
in correctness in the order description task
and not in the English language translation test.
So again, there's some kind of a contradiction there
by type.
The one thing that's interesting is that it's hard to say that the most
the easier ones were produced correctly because in fact reflective.
So more incorrect cases where whereas some really
difficult types like the new ones markers showed no incorrect cases.
So that's very inconclusive.
And in terms of qualitative, well, I use different labels,
which I definitely don't have time to get into to mark them.
But what is interesting is that in many, many cases,
what students produce
was just a fully interchangeable alternative to the official script
without any loss of nuance or idiomatic cities.
So the official scripts had no line
and the student said, No, let's do one taxi.
It's just the same thing.
And sometimes they were even more concise or more idiomatic,
like the students at least missed it, which I believe to be more idiomatic.
The thesis that a mithila cutter.
So yeah, that's very interesting.
Some other times they just changed the focus a little bit.
Sometimes with no impact,
sometimes with a slight impact or they overexplain something.
So these would be cases
that would be not non acceptable in a professional audio description,
but they still represented correct phenomenal nominal uses
and there was no clear difference
in, in the types of productions between the two types of taxi.
Unacceptable cases reflect the typical error.
So we'd see there overgeneralization using the wrong brand name
or just choosing a verb that should not be per nominal
or that cannot be nominal in this context.
And again, no difference.
So I just go very quickly this.
So in terms of the hypothesis that there would be more in audio
descriptions, it was not confirmed
because in both cases there were more in translations.
However,
in non-target items there were more periods
when audio description was done first.
So that makes us wonder whether departing from the interesting
translation can actually raise some kind of awareness.
So the visual content
there was an increase from the first test
to the second, both for expected and unexpected productions
that support it.
But as I was mentioning before, the relationship between phenomena
over difficulty and production,
both in terms of quantity and correctness, is unclear.
Now for what we learned from non-target items.
So it was confirmed for target items, but not for the unexpected.
So maybe we should.
Reconsider that and we.
Can skip that one.
But the thing is,
for non-target items, what's interesting is
that there were all those birds in the official strip
that were non per nominal, but students.
So that action either in written or in the image and they thought
this should be a phenomenal work.
So this raises a question
what made those actions B and B worthy for the students? Why?
Why did they perceive that there should be
a nominal group here when the official script didn't. Say.
So? Just to close this, of course, there are some limitations
in this study, such as not using statistical methods yet.
I will do that.
The impact of variables such as a group work or the fact that
tests were not obligatory and it remains to be seen
what made me experiment data. So the experiment
was repeated the year after with the following cohort.
So we'll see what happens with that and what seems to say with
these seems to show is that there is some pet,
some potential, you know, description as a pedagogical tool.
The students confirmed it in questionnaires
and we have seen that for in some cases it seems beneficial.
So the question is how to make the most of it.
And also the fact that the predominant verbs were used in
unexpected places that also raises questions about what made them use it.
So is the visual element, does it does it help recognize melody?
So maybe and this I was happy to share this in a plenary yesterday
because maybe there we could bring ideas from other fields
and incorporate techniques from reception studies and like,
I don't know, track students
as they watched the clip and as they decide to use it for nominal work
or maybe rely on more or not when a more cognitive approach
to that combining audio description because of its cognitive
particularities, then we're going to observe
their complexity in terms of form.
And yeah, so sorry for going over time and thank you very much
for your attention, references, references.
Anyone's.
But they are there. They're there.
Thank you very much, Adrienne.
Justin Sorry, Central question, if you have any moment
discussing it, thank you very much for a very nice presentation.
Thank you.
I could live with you.
Tell them before
they started the course because you were going to focus on
some of them first.
No, that's
one of the slides that went to the end of the presentation
because I know I wouldn't have done.
But no, they were not told.
So they were just especially for the first one,
they were just given the script
or the clip, depending on whether they were doing AD or translation
and just given absolute freedom to describe the scene,
whichever way they wanted with whichever verse they wanted,
then in their feedback session in between,
they compare the scripts to the official one
and the official one had the nominal verbs highlighted in bold,
but that was it.
There was no explicit
teaching of the verb, so we just left it there for students
to ask about each of these forms if they felt curious or did it.
But the instructions they received were to just compare the scripts
to that and present the differences and see
if anything called their attention and they wanted to ask anything.
So they were, you know, they were kind of shown them
and exposed to them, but not very explicitly taught them.
And yet in the second task, they seem to have used more
so maybe because they they used it actively
or because they saw it in the script, but they were never instructed to.
To use those specifically. Yeah.
Thank you so much.
We're going great tonight.
Thank you.
Yeah.
Why do they ever use
There
Must be a reason for having.
Could you talk about this from lessons from something?
Yeah.
Or how some being there
or reading the exercise lets them.
Yeah.
So in terms of leading them towards choices, when I did
the English translation of the script, I was very.
Formal.
So I departed from the official description script in Spanish
and I translated into English to give them to students for them to
then translate back into Spanish because they were doing
translation from their first language in relation to the second Spanish.
So when I created the English script, I tried to avoid any hint
at putting them
in knowledge in the script and I tried to write it as naturally
so it would sound as natural as possible in English.
And I had it checked by a couple of colleagues
were of speakers of English as first language,
just to make sure that it sounded natural.
But I tried to avoid that to to to avoid directing them towards
phenomenal choices.
The only case where per nominal is are taught in in that course
in Manchester are verbs of change, like, say, Bonnie or Natalie.
Also all say, Well, that second beer that those there
there was none of the target items.
So none of the nominal is used in the official Spanish script
belong to that category.
But it's true that they sometimes use them.
So that's the only case where and I have
I have them specifically Mari, but didn't have time to mention that.
But they did try to use those whenever possible.
So for many actions like carries gold bell up word the native user
meant that they said Greece upon entry also
and I understand that that could be because they've been taught
that very specifically.
Sometimes they try to use them in places where that was not correct.
But but that's the only case.
They made displayed
these matches with the help of other fields.
Yeah that's clear reasons of Yeah.
Yeah.
So my, my approach
between the sessions was more like
integrated form focus approach with indirect instructions
and with just the idea of showing the forms
and directing attention,
but without really explaining them
and just letting them make the connection.
And that's something I still have to explore more and hopefully,
hopefully I'll get something more out of there.
But yeah.
Thank you very much.
Is there any question or
just one more let you try to just get
all the other things
in a simple reason, just getting the
events to their response
directly was sort of.
One of the groups. I had two experimental groups.
One group was writing it from the clip
and one group was translating from English into Spanish.
That's where the first clip.
And then for the second clip they swapped tasks.
They did the opposite.
So all the students who participated did both.
Yes. Thank you very much.
So we wanted to use
this to leave space for the audience
in the lessons.
The do, for example, center how to use
the overviews of.
Yeah, I think so.
And I would have liked to continue
to have the opportunity to continue with that.
And maybe once the project and once the data gathering
was finished to just give the project a description break to spec
as part of the course and focus more on that because as it were,
as I mentioned yesterday with the idea of, oh, they don't
I'm not sure if they should use the word good together or a week on
and then they show the image and then it's very clear
it was a very interesting to see students doing actions
as they were
trying to writing or to imitate what they were doing on the screen like.
But he does like this. He doesn't do like this.
And then I'm like, So what is touch for you?
Touch is these are touches.
So I think that focusing on how actions are done would be
would very much help.
And that's yeah, I would love to explore that further.
Yeah. And thank you very much.