Aliteracy (ability to read without willingness to do so)--Reading motivation.

Le totalitarisme nazi, la souffrance, la mort de masse et d’êtres chers constituent des formes d’anéantissement présentes dans les parcours de Vladimir Jankélévitch, Jean Améry, Paul Celan et Jorge Semprun. Rescapés de la Seconde Guerre mondiale, ils ont subi, à des degrés divers, et dans des circonstances différentes, les épreuves de l’exil et des camps. Leurs expériences respectives de la Résistance, de la déportation, de la torture, de la tentation du suicide ouvrent à des écrits et des réflexions majeurs. La mémoire et la voix y sont convoquées afin de s’opposer au totalitarisme et à ses conséquences : la souffrance, le risque de la prescription conduisant à celui de l’oubli, et le caractère irréversible de la torture. Tandis que le bourreau a pour objectif de nier l’humanité de chaque supplicié, le rôle de la voix et de l’écoute sont déterminants. L’opéra Tosca illustre cette tension. La douleur confère à l’instant et à l’ipséité de chaque supplicié une expérience strictement individuelle qui peut néanmoins être décrite : l’invivable n’est pas nécessairement indicible.Voix et mémoire s’inscrivent dans l’inachevé. L’ascension, dans le quasi-silence désespérant des années trente, et le triomphe temporaire du nazisme, que la propagande radiophonique assure pour partie, puis sa défaite complète appellent la transformation dans la durée de l’Allemagne. Concomitamment, les évolutions musicales marquent des formes de refus de la répétition pour échapper à l’aliénation.Le cri possède pour fonction d’alerter. Mais de la mémoire de la Shoah au suicide, l’appel insurmontable de l’anéantissement conduit à revivre une violence que le poème et la musique tentent de surmonter. / Nazi totalitarianism, suffering, mass killing -including loved ones-, are all forms of annihilation that Vladimir Jankélévitch, Jean Améry, Paul Celan and Jorge Semprun went through. World War II survivors, they endured, at varying intensities and through different circumstances, the hardship of exile and of the camps.Their respective experiences of torture, deportation, the Resistance, and their consideration of suicide have brought prominent works and should lead us to major reflections.Remembrance and voice are weapons involved in the fight against totalitarianism and its consequences, of which: suffering, the risk of prescription leading to that of forgetting, and the irreversibility of torture.While the torturer aims to deny even the humanity of its victims, the role of voice and listening are decisive. Tosca Opera gives an accurate representation of this tension. Pain confers to the moment and to the uniqueness of each victim a strictly individual experience, which can nevertheless be described: the unbearable is not unspeakable. Voice and remembrance fall within the ‘unfinished’. Nazism’s ascent —in the practically desperate silence of the thirties—, its temporary triumph —that radio propaganda partly ensures—, and ultimately its complete defeat, call for the profound transformation of Germany overtime. Simultaneously, the contemporaneous cultural developments highlight the rejection of recurrence in music, in an attempt to escape alienation. The purpose of screaming is to alert. But from the Holocaust memory until the very notion of suicide, the devastating call of annihilation amounts to experience once more a violence that poetry and music seek to overcome.

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Prior studies looking at the effects of listening strategy instruction on motivation have shown there to be a positive correlation between the two. However, the participants of these studies all shared a first language (L1) and were not enrolled in an intensive English program (IEP). This study aims to investigate the correlation between listening strategy instruction and listening motivation in an IEP classroom for students from different L1s. Listening motivation was recorded utilizing the English Listening Comprehension Motivation Scale (ELCMS) and strategy use was tracked with the Metacognitive Awareness Listening Questionnaire (MALQ). Pre- and post-test scores of 56 participants (control group, n=30; experiment group, n=26) were analyzed using a mixed-effects regression and paired t-test to determine differences after a 7-week treatment period. Results revealed that study participant motivation levels in both groups decreased over the treatment period, with the experiment group seeing a smaller decrease than the control group.

Matrices of Vision is a sonic deconstruction of a higher education dataset compiled by the influential Swedish higher education authority Universitetskanslersämbetet (UKÄ). The title Matrices of Vision and project theme is inspired by Indigenous cyberfeminist, scholar and artist Tiara Roxanne’s work into data colonialism. The method explores how practical applications of sound and theory can be used to meditate on political struggles and envision emancipatory modes of creation that hold space through a music-making practice. The artistic approach uses just intonation as a system, or grid of fixed points, which it refuses. The pitch strategy diverges from this approach by way of its political motivations: it disobeys just intonation’s rigid structure through practice and breaks with its order as a way to explore its experiential qualities. The approach seeks to engage beyond the structures designed to regulate behaviors and ways of perceiving and rather hold space for a multiplicity of viewpoints which are explored through cacophony, emotion and deep listening techniques.

This study investigated the effect of distracting linguistic background noise on children’s ability to perform three-part commands. A total of twelve first grade subjects, six “normal” and six reading delayed, were individually administered a series of twenty, three-part commands. Each child performed once in quiet and once in a noise environment, and the performances in those two conditions were compared.

Differences in auditory detection performance between schizophrenics and normals were examined in terms of the attentional processes involved. Each of 40 ~s (20 schizophrenics categorized along the dimensions of paranoia, premorbidity, and acuteness; and 20 hospital technical staff) were presented with 30 50-trial blocks of a tone detection task using 6 auditory ensembles consisting of 2 tones apiece separated by varying . ,. frequency bands. Tones were masked by white noise and presented in a free-running trial manner. The commonly found decrement in detection performance with normal subjects as the tones in the ensembles become more widely separated was replicated. But the differing frequency separations between the tones in the ensembles also yielded performance differences within. the various schizophrenic subclasses (except the chronic/acute subclass), as well as between schizophrenics and normals. These differences can be attributed to the attentional mechanisms of scanning and beam width as there were no cognitive component·s involved in the experimental task •

京都大学 / 0048 / 新制・課程博士 / 博士(情報学) / 甲第20507号 / 情博第635号 / 新制||情||110(附属図書館) / 京都大学大学院情報学研究科社会情報学専攻 / (主査)教授 石田 亨, 教授 矢守 克也, 教授 吉川 正俊 / 学位規則第4条第1項該当 / Doctor of Informatics / Kyoto University / DGAM

<p>  </p> <p>The digital age has profoundly changed the film industry and how consumers are able to access media. To foster language development, this mixed methods study takes advantage of this technological progress and investigates how an audiovisual media-based curriculum can be designed for and implemented in an intermediate German language course. In this context, its effects on students’ listening comprehension competence are analyzed.</p> <p>A qualitative action research (AR) approach was pursued to systematically reflect and act upon the curriculum-related components of the project by taking instructor’s observations and students’ feedback into consideration. A review of the AR cycles concluded the film-based curriculum to be successful in an intermediate language learning context. It provided insight in students’ attitude towards chosen genres, the appropriateness of selected themes, audiovisuals, and tasks as well as suggestions for how a subsequent course should be altered in future iterations. </p> <p>A quantitative analysis consisting of four listening assessments and two language proficiency tests was carried out to examine whether progress of students’ listening comprehension skills can be determined. A comparison of the four listening tests suggests an overall positive trend in class and individual performance. An ANOVA analysis indicates that the four tests were significantly different and that a linear trend exists. However, a negative trend was observed when comparing the A2 and B1 language proficiency test. </p> <p>In conclusion, a film-based curriculum serves as a promising pedagogical approach in an intermediate second language context. Furthermore, the field of SLA would benefit from further research on how the presented approach can be applied to other proficiency levels and/or if the explicit teaching of listening strategies could help students ease observed challenges pertaining to their listening comprehension skills.</p>

One of the major questions in second language (L2) phonological learning is whether perception precedes (and therefore guides) production. This question is important for knowing what types of training most benefit L2 learners. While most theories assume that perception always precedes production (e.g., Best, 1995; Flege, 1995), several recent studies have found that production may precede perception (e.g., Baker & Trofimovich, 2006; Beach, Brunham, & Kitamura, 2001; Goto, 1971; Sheldon & Strange, 1982; Underbakke, 1993), demonstrating that this complex relationship may differ depending on how and when the L2 is learned. The current study seeks to further explore this relationship by examining how perception and production influence each other on the suprasegmental (i.e., primary word stress) level. While many studies have examined whether perceptual training can influence production accuracy of suprasegmentals, little to no research has examined whether the opposite is true. Thus the goal of this study was to examine whether ESL learners who were trained in suprasegmental pronunciation accuracy improved in listening and speaking more than similar students who were trained in perception accuracy. Comparisons of pre- and post-tests suggest that focusing on accurate production improves not only production accuracy, but also listening comprehension more than does training in listening comprehension. These results enlighten our understanding of how perception and production influence each other, and may underscore the importance of providing bottom-up pronunciation skills for improving L2 phonological learning.