Layers of generality and types of generalization in pattern activities

Pattern generalization is considered one of the prominent routes for in-troducing students to algebra. However, not all generalizations are al-gebraic. In the use of pattern generalization as a route to algebra, we —teachers and educators— thus have to remain vigilant in order not to confound algebraic generalizations with other forms of dealing with the general. But how to distinguish between algebraic and non-algebraic generalizations? On epistemological and semiotic grounds, in this arti-cle I suggest a characterization of algebraic generalizations. This char-acterization helps to bring about a typology of algebraic and arithmetic generalizations. The typology is illustrated with classroom examples

Challenges in Transcribing Multimodal Data: A Case Study

open2siComputer-mediated communication (CMC) once meant principally text-based communication mediated by computers, but rapid technological advances in recent years have heralded an era of multimodal communication with a growing emphasis on audio and video synchronous interaction. As CMC, in all its variants (text chats, video chats, forums, blogs, SMS, etc.), has become normalized practice in personal and professional lives, educational initiatives, particularly language teaching and learning, are following suit. For researchers interested in exploring learner interactions in complex technology-supported learning environments, new challenges inevitably emerge. This article looks at the challenges of transcribing and representing multimodal data (visual, oral, and textual) when engaging in computer-assisted language learning research. When transcribing and representing such data, the choices made depend very much on the specific research questions addressed, hence in this paper we explore these challenges through discussion of a specific case study where the researchers were seeking to explore the emergence of identity through interaction in an online, multimodal situated space. Given the limited amount of literature addressing the transcription of online multimodal communication, it is felt that this article is a timely contribution to researchers interested in exploring interaction in CMC language and intercultural learning environments.Cited 10 times as of November 2020 including the prestigious Language Learning Sans Frontiers: A Translanguaging View L Wei, WYJ Ho - Annual Review of Applied Linguistics, 2018 - cambridge.org In this article, we present an analytical approach that focuses on how transnational and translingual learners mobilize their multilingual, multimodal, and multisemiotic repertoires, as well as their learning and work experiences, as resources in language learning. The … Cited by 23 Related articles All 11 versionsopenFrancesca, Helm; Melinda DoolyHelm, Francesca; Melinda, Dool

Yeah, that’s it!: Verbal Reference to Visual Information in Film Texts and Film Translations

This article presents an account of the meaning relationship between visual and verbal information in film and the differences between the conventions of making verbal reference to visual information in English films and their German-language versions. The analysis of a diachronic corpus of popular motion pictures and their German-dubbed versions indicates that the film translations ‘handle’ the co-occurring visual information differently than their English source texts. The translations tend to use alternative, non-equivalent, linguistics structures to refer to visual information and insert additional pronominal references and deictic devices, which overtly connect linguistic items to pictorial elements. As a result, the ongoing spoken discourse is explicitly linked with the physical surroundings of the communicative encounter. In contrast, in the English language versions, the relationship between the verbal utterance and the accompanying visual information more often remains lexically implicit. The shifts in translation affect the ideational, interpersonal, and textual meanings expressed in the film texts which, in turn, may result in a variation in the films’ narrative construction and the realization of extralinguistic concepts, such as, for example, gender relations.Cet article présente une étude des relations sémantiques entre les informations visuelles et verbales dans le cinéma et montre les différences entre les conventions de référence aux informations visuelles par les moyens verbaux dans les films en anglais et dans leur version en allemand. L’analyse d’un corpus diachronique de films populaires en anglais et de leur version doublée en allemand montre qu’on traite de manière différente la cooccurrence d’une information visuelle avec une information verbale dans les originaux et leur traduction. Dans la traduction allemande, on tend à introduire des structures linguistiques différentes pour renvoyer à une information visuelle. On insère des références pronominales et d’autres termes déictiques supplémentaires pour lier de manière ostensible un élément linguistique à un élément visuel. Par conséquent, dans la version allemande, le discours verbal est directement lié à son environnement, pendant que, dans les originaux anglais, la relation entre le discours et la scène se manifeste souvent de manière plus implicite sur le plan lexical. Ces différences résultant de la traduction influent sur la signification exprimée sur le plan du texte. Il se peut que – à côté d’autres phénomènes au-delà du texte, comme par exemple les relations de genre – cette variation de la construction narrative du cinéma soit le résultat de la traduction

Yeah, that’s it!: Verbal Reference to Visual Information in Film Texts and Film Translations

This article presents an account of the meaning relationship between visual and verbal information in film and the differences between the conventions of making verbal reference to visual information in English films and their German-language versions. The analysis of a diachronic corpus of popular motion pictures and their German-dubbed versions indicates that the film translations ‘handle’ the co-occurring visual information differently than their English source texts. The translations tend to use alternative, non-equivalent, linguistics structures to refer to visual information and insert additional pronominal references and deictic devices, which overtly connect linguistic items to pictorial elements. As a result, the ongoing spoken discourse is explicitly linked with the physical surroundings of the communicative encounter. In contrast, in the English language versions, the relationship between the verbal utterance and the accompanying visual information more often remains lexically implicit. The shifts in translation affect the ideational, interpersonal, and textual meanings expressed in the film texts which, in turn, may result in a variation in the films’ narrative construction and the realization of extralinguistic concepts, such as, for example, gender relations.Cet article présente une étude des relations sémantiques entre les informations visuelles et verbales dans le cinéma et montre les différences entre les conventions de référence aux informations visuelles par les moyens verbaux dans les films en anglais et dans leur version en allemand. L’analyse d’un corpus diachronique de films populaires en anglais et de leur version doublée en allemand montre qu’on traite de manière différente la cooccurrence d’une information visuelle avec une information verbale dans les originaux et leur traduction. Dans la traduction allemande, on tend à introduire des structures linguistiques différentes pour renvoyer à une information visuelle. On insère des références pronominales et d’autres termes déictiques supplémentaires pour lier de manière ostensible un élément linguistique à un élément visuel. Par conséquent, dans la version allemande, le discours verbal est directement lié à son environnement, pendant que, dans les originaux anglais, la relation entre le discours et la scène se manifeste souvent de manière plus implicite sur le plan lexical. Ces différences résultant de la traduction influent sur la signification exprimée sur le plan du texte. Il se peut que – à côté d’autres phénomènes au-delà du texte, comme par exemple les relations de genre – cette variation de la construction narrative du cinéma soit le résultat de la traduction

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Semiologic process in the performance of a dance performance: a critical review

La literatura sobre la semiología de la danza es escasa y hasta ahora no está bien integrada. Una revisiónexhaustiva de la investigación académica permitiría mostrar cuáles son los temas más críticos y qué se necesita todavía paradesarrollar este campo de investigación. La finalidad de este artículo es cubrir esta brecha mediante una revisiónbibliográfica de artículos publicados en Web of Science (WoS), Scopus, Dialnet, ÍnDICEs-CSIC, EBSCO y Google Scholardesde 2000 hasta 2022. La revisión muestra que, dentro del campo de la danza, estudios anteriores han enfatizado lacoexistencia de varios elementos dinámicos cuyo objetivo principal es dar forma a la construcción de la obra y facilitar lacomprensión en el proceso de comunicación de la danza. Destacar la relevancia de centrarse en el espectador comoconstructor de significado y participante en el simbolismo del acto, y no solo como un observador pasiv

Theories of the development of human communication

This article considers evidence for innate motives for sharing rituals and symbols from animal semiotics, developmental neurobiology, physiology of prospective motor control, affective neuroscience and infant communication. Mastery of speech and language depends on polyrhythmic movements in narrative activities of many forms. Infants display intentional activity with feeling and sensitivity for the contingent reactions of other persons. Talk shares many of its generative powers with music and the other ‘imitative arts’. Its special adaptations concern the capacity to produce and learn an endless range of sounds to label discrete learned understandings, topics and projects of intended movement

The Cosmos Project: a journey to the stars

There seems to be some agreement that ‘science for all’ does not necessarily mean ‘one size fits all’ (Lynch, 2001). Teaching scientific disciplines in schools has been traditionally concerned with delivering science as a product with a main focus on its conceptual structure. In our research we propose to concentrate on science as a process, putting it in the societal context. We introduce the Cosmos project that aims to explore the use of narrative and performative languages, as well as new media technologies in relation to delivering complex scientific topics to pre-school children aged three to six. We created a theatrical piece and developed a set of new interactive preschool activities that enabled young learners to participate and contribute to their learning through physical engagement enhanced by modern technologies. This paper presents a critical discussion about the recent tendencies in teaching science to young learners; the rationale for the Cosmos project and its main research objectives. It will conclude with evaluation of the pre- and postperformance educational activities