Re-examining Phonological and Lexical Correlates of Second Language Comprehensibility:The Role of Rater Experience

Few researchers and teachers would disagree that some linguistic aspects of second language (L2) speech are more crucial than others for successful communication. Underlying this idea is the assumption that communicative success can be broadly defined in terms of speakers’ ability to convey the intended meaning to the interlocutor, which is frequently captured through a listener-based rating of comprehensibility or ease of understanding (e.g. Derwing & Munro, 2009; Levis, 2005). Previous research has shown that communicative success – for example, as defined through comprehensible L2 speech – depends on several linguistic dimensions of L2 output, including its segmental and suprasegmental pronunciation, fluency-based characteristics, lexical and grammatical content, as well as discourse structure (e.g. Field, 2005; Hahn, 2004; Kang et al., 2010; Trofimovich & Isaacs, 2012). Our chief objective in the current study was to explore the L2 comprehensibility construct from a language assessment perspective (e.g. Isaacs & Thomson, 2013), by targeting rater experience as a possible source of variance influencing the degree to which raters use various characteristics of speech in judging L2 comprehensibility. In keeping with this objective, we asked the following question: What is the extent to which linguistic aspects of L2 speech contributing to comprehensibility ratings depend on raters’ experience

The Role of Translation Competence of Medical Experts in the Translation of English-Kurdish Medical Abstracts

This study is an attempt to consider the role of translation competence of medical experts who are self-translating medical research abstracts from English into Kurdish. To do so, it investigates a corpus of research abstracts terminologically, syntactically and textually in order to identify and establish the translation competence of the medical experts. The study adopts the descriptive approach to translation for the purpose of its investigation within the frame of which it employs Toury’s methodology in order to analyse 65 originally written abstracts and 65 translated Kurdish abstracts. The aim of the study is to identify the translation competence of medical experts who perform English-Kurdish specialised medical translation. It also aims to identify any potential recurrent translational behaviour that occurs in Kurdish specialised medical translation. Moreover, the study aims to provide an insight into the status of Kurdish specialised language through examining the translated abstracts. The results of the data analysis reveal that medical experts have successfully demonstrated the translation of their research abstracts as far as terminology and conceptual knowledge are concerned. However, their translations show recurrent cases of linguistic and textual markedness which can be attributed to a lack of linguistic and textual competence. The results also revealed that Kurdish specialised medical language is not under-developed as the study hypothesised but it has a rich stock of specialised terminology as well as naturalised terms that the medical experts have largely used in their self-translated abstracts. Based on the outcomes of the study, it is concluded that medical experts require linguistic and textual competence as much as subject competence. In addition, consistent and appropriate proofreading can have a profound impact on specialised medical translation in reducing the incidence of syntactic and textual calques as well as common typographical errors before publication

Performing translation : theatrical theory and its relevance to textual transfer

The fundamental similarity between translation and acting can be summarized by the words of translator Ralph Manheim: ‘translators are like actors: we speak lines by someone else’ (cited in Stavans 1998: 176). This common metaphor is a useful tool for translation practitioners and researchers. Although it cannot be fully exhausted, it can be further clarified, analysed and developed by looking into modern and pre-modern theories of theatrical performance, examining their compatibility and incompatibility with the world of translation practice and theory. The first chapter of this thesis deals with mimetic representation in translation and in performance. The issue of disguising oneself as someone else while performing or translating raises practical problems. They are discussed here in relation to the opposite approaches to acting suggested by Denis Diderot and Constantin Stanislavski. The following chapter deals with radical goals of theatrical and textual representations, and discusses ethical and political strategies in relation to Bertolt Brecht and Lawrence Venuti. The next chapter deals with spiritual and metaphysical goals of theatrical and textual representations, and discusses them in relation to Jerzi Grotowski and Walter Benjamin. The final chapter explores the common ground between theatrical space and norms of translation, and shows that in many ways, the use of theatrical space, confining performers yet channelling their communication with their spectators, functions in similar fashion to translation norms

Empirical modelling of translation and interpreting

"Empirical research is carried out in a cyclic way: approaching a research area bottom-up, data lead to interpretations and ideally to the abstraction of laws, on the basis of which a theory can be derived. Deductive research is based on a theory, on the basis of which hypotheses can be formulated and tested against the background of empirical data. Looking at the state-of-the-art in translation studies, either theories as well as models are designed or empirical data are collected and interpreted. However, the final step is still lacking: so far, empirical data has not lead to the formulation of theories or models, whereas existing theories and models have not yet been comprehensively tested with empirical methods. This publication addresses these issues from several perspectives: multi-method product- as well as process-based research may gain insights into translation as well as interpreting phenomena. These phenomena may include cognitive and organizational processes, procedures and strategies, competence and performance, translation properties and universals, etc. Empirical findings about the deeper structures of translation and interpreting will reduce the gap between translation and interpreting practice and model and theory building. Furthermore, the availability of more large-scale empirical testing triggers the development of models and theories concerning translation and interpreting phenomena and behavior based on quantifiable, replicable and transparent data.

Second Language Pronunciation Assessment:A Look at the Present and the Future

This book is open access under a CC BY licence. It spans the areas of assessment, second language acquisition (SLA) and pronunciation and examines topical issues and challenges that relate to formal and informal assessments of second language (L2) speech in classroom, research and real-world contexts. It showcases insights from assessing other skills (e.g. listening and writing) and highlights perspectives from research in speech sciences, SLA, psycholinguistics and sociolinguistics, including lingua franca communication, with concrete implications for pronunciation assessment. This collection will help to establish commonalities across research areas and facilitate greater consensus about key issues, terminology and best practice in L2 pronunciation research and assessment. Due to its interdisciplinary nature, this book will appeal to a mixed audience of researchers, graduate students, teacher-educators and exam board staff with varying levels of expertise in pronunciation and assessment and wide-ranging interests in applied linguistics.EUR 6,000 BPC fee funded by the EC FP7 Post-Grant Open Access Pilo

Repositioning Neuroaesthetics Through Contemporary Art

Neuroaesthetics has tended to privilege neuroscientific understandings of art, eliding centuries of art historical research on perception and culture. Instead, this dissertation extends neuroaesthetic research to examine the specific social, sensorial and perceptual processes occurring as artworks are encountered in exhibition contexts. How does neuroaesthetic perception operate in contemporary artworks? What modes of cognitive address are involved? How can neuroaesthetic engagement facilitate embodied knowledges? This dissertation first inquires into the neuroaesthetic literature in order to establish its neuroscientific foundations, and then advances a perceptual standpoint stemming from art and art history. Drawing from feminist theories of embodiment, I reposition neuroaesthetics to incorporate art historical inquiries into body and mind through direct engagement with art. I argue that such a revised neuroaesthic perception must take into account post-humanist troublings of nature/culture dichotomies. I also suggest that the paradigm for embodied perception that has emerged from both cognitive neuroscience and affect theory can expand neuroaesthetic understanding. My investigation has led me to first-hand experience as a research subject of neuroscience experiments, which show that current fMRI contexts in fact delimit the perception of art and inhibit possible neuroaesthetic significance. Instead, I undertake neuroaesthetic research in exhibition contexts where self-reflexive awareness facilitates insights into perception and cognition that are inaccessible within the epistemological conditions of neuroscience labs. The first case study examines how an installation by the FASTWÜRMS collective reveals cognitive processes of abduction by inviting navigation through an infinitely complex web of objects and images. Turning from association to visual cognition, I consider how Olafur Eliasson’s immersive light installations manipulate colour perception thereby facilitating critical awareness of techno-mediated environments. Third, my analysis of a conceptual work by Kristin Lucas explores how the performance of digital and legal technology invites embodied transformations. Finally, I examine how the affective tensions produced in a video by Omer Fast activate an awareness of intersubjective communication that corresponds with recent neuroscientific developments in mirror-neuron theory. By taking contemporary artworks as its focus, the dissertation extends neuroaesthetic inquiry to demonstrate contextual understandings of how the cognitive processes of art constitute physiological engagements between body, brain and world

Transforming music criticism? An examination of the changes in music journalism in the English broadsheet press from 1981 to 1991

To date, very little academic attention has been awarded specifically to English broadsheet music writing and of the few texts which do touch upon this area many have relied upon the anecdotal accounts of only a handful of authors. As such, this research was undertaken to provide new insights into this relatively untouched area, concentrating particularly upon the period 1981 to 1991 during which, it was anticipated, a number of fundamental changes might be observed. The research triangulates fmdings from three sources; firstly, quantitative analysis is drawn from a large database constructed for the purposes of this study, which details the music-related content of 744 sample broadsheet publications, to reveal a series of shifts in the nature of broadsheet music coverage during the period under review. A detailed qualitative analysis of38 sample broadsheet music reviews then highlights differences in the critical styles adopted by broadsheet music writers across and within the spectrum of music genres and time period examined. Secondly, insights into the nature of change within broadsheet music coverage between 1981 and 1991 are presented from the perspectives of thirteen broadsheet music writers themselves, resulting from interviews conducted specifically for this research. Finally, the research findings are placed within a suggested literary and conceptual framework through reference to a range of secondary sources. In considering the motives for change, particular attention is devoted to the Thatcher government, whose free market policies fuelled an increase in music marketing and whose reduction of trade union powers resulted in the Wapping Dispute of 1986 and the subsequent upheaval of broadsheet production practices. Consideration is also given to both the impact of emergent and discontinued contemporary publications, with particular attention awarded to The Independent newspaper, and to shifting editorial attitudes - the latter of which, it is suggested here, led to a destabilisation of the traditional genre hierarchy. The thesis also examines the employment conditions of broadsheet music journalists during the period under review in order to understand how their recruitment, training, reward and working relationships may have affected their critical output. Finally, a brief examination of a sample of broadsheets from 2009 suggests that the editorial mindset inherited from the latter 1980s has possibly deepened, if not become entrenched, in twenty first century broadsheet production practices. The thesis, by virtue of the original evidence gathered here, argues that a significant dynamic of change within broadsheet music coverage was indeed in place during the period 1981 to 1991 and that, given its possible implications for music audiences, further scholarly examination of this subject is imperative