Showing posts with label Fluency vs Accuracy. Show all posts
Showing posts with label Fluency vs Accuracy. Show all posts

Friday, August 28, 2020

104. Conceptual objects, mind maps, and cultural schemata

It is my firm belief that following the thread of June’s post on cognitive schemata will be useful insofar as it helps to outline oral- and written-text production. And that is because there is something left without clear insight: the linguistic elements we can hold in mind at any one time. Again, we’re moving within the range of knowledge and ability, which I’m going to comment on below.                                                                                                                     

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What has been accepted in late 20th- and early 21st- teaching/learning research is the inability of our brain to sustain short-term memory by pouring into human communication all the bulk of linguistic items we know related to a script - for example, buying. When it comes to performing, the ideal scenario considers “at most seven plus or minus two” conceptual objects (D'Andrade, 1987) that can be simultaneously and rapidly handled. But this may be misleading: a conceptual object is more often than not a package belonging to a cultural schema[1].

For just consider: as soon as we think, say, or write “buying”, the very semantic load of the verb activates brain paths which take for granted other, indispensable conceptual objects. There must be someone (a purchaser) who buys something from someone (else); the latter someone has the object (and is willing to sell it); buying infers transaction through money which, in turn, sends the mind to the (potential) purchaser, seller, merchandise, price, value /worth, interaction between the purchaser and the seller, communication of the offer to buy, the acceptance of sale, the transfer of ownership, plus as varied concepts as bargaining, lending, renting, leasing, gypping, salesmanship, bids, counter-offers, profit making, stores, ads, and a final agreement (see also Fillmore, 1977). 

Each and every linguistic element comes with its own package of semantic and syntactic rules. Without going any further, what happens when a Spanish speaker wants to express comprarle algo a alguien? Who is that alguien? – the person who owns the object or the one for whom you pay to get that particular thing? People buy something from someone else (i.e., the seller) for someone else (i.e., a third party; to their benefit, for them to enjoy). How easy is it to get it all wrong? For (much) more information, let me refer you back to blog post 59:

http://challengingmyths.blogspot.com/2012/11/a-bit-of-grammaring.html

Norwegian humour: This shop window sells well
by Daniel Duma

Things are by far more complex. At the other end of the spectrum, a native or a competent speaker of English will shake their head in disbelief by saying “I don’t buy that” when they are told something that, for them, is just an absurdity. Why buy? Well, buying and selling is commonplace in the English cultural schema (even more so, presumably, in AmE than in BrE), to such an extent that one can find semantic restructuring like, for instance the book sells well and this shop window sells well. That is why looking up information is indispensable when we customise the mind map that we need for production.  

D’Andrade’s (1987) article is as valuable today as it was more than thirty years ago – even more so, given that English is here to stay. What Verspoor’s (1996) schema[2] below suggests is that, all things considered, perception brings on interpretation of what we see, hear and/or sense, whereas knowledge and belief are created within the mind. What still remains problematic (or difficult to define) is the origin and the cause of feelings, emotions, and desires. Nevertheless, intentions and resolutions appear as directly caused only from within. 

How would you interpret the arrows drawn between the six concepts above? Could you come up with an example?

What seems to be undeniable is that a mental causation chain is always in place: a stimulus (mediated by cognition) triggers a mental state. A previous intention results in action. How does the expression change in each of the sentences below?

John moved the table. || John made the table move. || John wanted to move the table.

A directly perceived stimulus may be reported as follows:

The table moved. || I saw the table move. || I saw John move the table. || I believed the table to have moved.

The point I’m trying to make is this: whatever idea we want to express will emerge from our mind taking a material form, i.e., a linguistic shape made from words and phrases, all of which will be there – in our discourse – as a function of our knowledge and ability.


[1] By now it is quite clear that the English and the Spanish cultural schemata are far from coinciding – perhaps only in what may be called “universals”.

[2] Reproduced from “The story of -ing: a subjective perspective” In The Construal of Space in Language and thought. In Pütz & Dirven (eds), pp. 417-454.

Sunday, March 10, 2013

89. Cohesion and Coherence

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Now, these are two terms everybody is afraid of: how are you going to prove that your line of thought is coherent if you don’t express your ideas one after the other while following a pattern?

But wait: whose pattern is it? Is it yours, in the sense that it unfolds in the same order as in your mother tongue? Well – no. It will be – again – a superordinate rule which requires Word Order according to the rules of English (in this case) and the elements that make information meaningful. To cut a long story short: if you choose to express the ideas at random, as they occur to you through a kind of ‘automatic dictation’ disregarding what an English pattern asks for, your final text will make no sense, or it will finally mean something else than you intended to convey.

Then again, there is a kind of ‘sticking together’ of the elements you use in every sentence /utterance which makes it understandable and ensures that what you expressed at the beginning of the sentence is consistent with all the other elements. Let’s say you refer to a film you’ve seen recently. It would be, in very schematic terms, something like:

‘I’ve just seen a very good film starring Javier Bardem. It is called ‘Biutiful’, and it is the gripping story of a man living in Barcelona, the father of two children. His ability to talk to THE DEAD makes people invite him at wakes and funerals so that he may pass on messages to them from THE RECENTLY DECEASED.’

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Of course you may go on and on; or you may re-write the text taking care of each structure and expanding, or compressing it. The better you are at handling each structure, the easier it will be for you to say exactly what you mean.

Still, looking back at the paragraph above, you may notice that quite a few of the words have been highlighted. Follow the colours, or else the marking pattern and you’ll see what I mean. What enters first is resumed later at a point which makes it useful and meaningful.
On this particular occasion, let’s have a look at those small words with big meanings that represented the title of the previous post. When you have studied the table, you may pass on to practice and then check in the key:
 
Use&omission of articles

Sunday, November 25, 2012

60. A Bit of Grammaring: Straightforward



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Today's post: Practice - Part Two [112]
Use and omission of prepositions
(Adapted from A.J. Thomson & A.V. Martinet, Vol 2)

Insert a preposition if necessary. Choose from at, by, for, in, of, on, past, till/until, to, with.

1   He asked ... his father . . . money.
2   They paid ... me ... the books.
3   I thought he would offer . . . Ann the job, but he offered it. . . me.
4   Keep ... me a place, and keep a place . . . Ann too.
5   They showed ... us photographs . . . their baby.
6   Buying presents . . . children is sometimes very difficult.  ... the end I bought a kite . . . Tom and a torch . . . Ann.
7   Pass the salt. . . your father, Peter, and pass ... me the pepper, please.
8   When you have lunch ... a restaurant, who pays ... the bill?-Oh, each ... us pays . . . what he has had.
9   Paul's a pianist. He sometimes plays . . . us . . . the evening. Last night he played some Chopin.
10   I think I'll be able to find . . . Ann a job. ~ Could you find a job . . . me, too?
11   He sold the picture ... an American dealer . . . £5,000.
12   He promised ... us a share . . . the profits.
13   He built a very nice house . . . Jack . . . only £50,000. I wonder what sort. . . house he would build . . . me . . . £30,000.
14  She is knitting socks . . . refugees. I wish she'd knit... me some socks.
15   Sitting ... the floor isn't exactly comfortable. Throw ... me a cushion, please, Ann.
16   If you are going ... the Post Office, could you buy ... me a book . . . stamps?
17   If you write ... me a song I'll sing it. . . the school concert. I'll get Paul to accompany . . . me . . . the guitar.
18   Could you lend ... us your lawnmower, please?-
I'm afraid you'll have to ask . . . someone else to lend . . . you one. We've lent ours ... Mr Jones and he always keeps it. . . ages.
19  I thought you'd be late . . . dinner, so I ordered some sandwiches
. . . you; they're ... the bar. I haven't paid . . . them: you can pay ... the barman.
20   I explained . . . him that it was the custom . . . England to wash one's car at the weekend.
211 described the machine . . . him and asked . . . him if he could make ... me one like it.
22   She told ... us that she'd been attacked ... the street. We asked
. . . her to describe her attacker and she said he was a tall man ... a limp.
23   He told . . . them to wait. . . him . . . the bridge.
24  I cannot repeat. . . you what she said . . . me . . . confidence.
25   The headmaster warned ... me to work harder. What did he say . . . you, Jack?
26   He advised . . . the strikers to go back . . . work. They received his advice . . . shouts . . . contempt.
27   They don't allow . . . you to smoke . . . cinemas . . . France.
28   He told lies . . . the police. ~
I'm not surprised. He told . . . me a pack . . . lies yesterday
29   This film reminds ... me ... my childhood.
30   I rely . . . you to remind ... me to pay Jack . . . the books he bought . . . me.
31   We must try to get. . . home . . . time . . . tea.
32   We didn't reach Berlin . . . after dark, and had some difficulty . .. finding our hotel.
33   If we say 'The manager showed ... us to our room,' we mean I hat he led ... us .. . the door. If we say, 'He showed ... us I lie room,' we mean that he entered . . . the room ... us.
34   I read . . . him the report. He listened . . . me . . . amazement
35   He ordered ... us to give . . . him all the maps . . . our possession.
36   He suggested ... me that we should offer to pay . . . her . . . dollars.

Sunday, November 18, 2012

59. A Bit of Grammaring


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The Grammaring Matrix

Needless to say, there is no such word as grammaring in English – or, at least there hasn’t been one until Diane Larsen-Freeman, 
Professor at University of Michigan School of Education, began to refer to it as the fifth skill alongside reading, writing, listening and speaking. Grammaring is understood as the ability to use grammar structures accurately, meaningfully, and appropriately. Grammar lessons are no longer about knowing language systems (declarative knowledge), but about knowing how to use language (procedural knowledge).

In her book Teaching Language: From Grammar to Grammaring, Larsen-Freeman herself seems pulled in both directions: on the one hand, she says that students want and need to learn the rules of grammar, but also that the rules are confusing and not complete in themselves. She goes on to say that ‘... in most cases students don't need to know about the language – they need to be able to use the language.’ Still, there is a delicate and at the same time unclear balancing: it is a ‘myth’ that grammar need not be taught, yet there is ‘reason to question’ whether students should adhere to the interactional norms of English speakers.
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Larsen-Freeman admits to still seeking the answers herself, but one ‘teachers’ voices’ quote is perhaps telling: ‘I tell my students that they don't need to be accurate to communicate. They do need to be accurate to be respected.’

Throughout the book, there is a message to teachers about how we should analyze our students’ problems and find ways to help them understand the issues they face. The three inseparable components form, meaning and use still are of paramount importance. And I for one will stick to them! 


1.3   The simple sentence: direct and indirect objects

1.3 A   Subject + verb + indirect object + direct object:'Show me that photo'

1   We can use two objects after verbs like give and buy.
Instead of:  
 Give the book to me,  
we can say:  
Give me the book.

Instead of:  
Buy the book for me,  
we can say:  
Buy me the book.

2 Some verbs combine with TO: bring, give, lend, pay, post, sell, send, show, tell, write: Bring that book to me. -» Bring me that book.

3 Other verbs combine with FOR: buy, choose, cook, cut, do, fetch, find, get, make, order: Please order a meal for me. -» Please order me a meal.

4 We can put it and them after the verb: Give it to me. Buy them for me. (But not *Do me it*) We say: Give it to John. Buy them for John. (Not *Give John it* *Buy John them*)
Write:    You want people to do things for you. Write suitable polite requests using it, them or one [Ø One is the reference pronoun substituting a previously mentioned count noun accompanied by a/an ]
1   Where are my shoes? (find) Please......................................................................
2 John needs a new coat. (buy) Please.....................................................................
3 I can't reach that cup. (pass) Please......................................................................
4 Ann wants to see our flat. (show) Please...............................................................
5 I can't do the shopping. (do) Please.......................................................................
6 I’d like a copy of that book. (order) Please............................................................

1.3B Verb + object + 'to' + noun or pronoun: 'Explain it to me'

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1 There are some verbs like explain which do not behave in exactly the same way as give. For example, we can say:   
Give the book to me, or Explain the situation to me.
Give me the book, (but not 'Explain me the situation. *)

2 We cannot use an indirect object (me) immediately after explain.
We can only have: verb + object + 'to':  
He explained the situation to me.
He confessed his crime to the court.

3 Other verbs like explain and confess are: admit, announce, declare, demonstrate, describe, entrust, introduce, mention, propose, prove, repeat, report, say, suggest.

Write:  Complete these sentences giving the right order of the words in brackets.
1   You must declare (the Customs/this camera).....................................................
2 Aren’t you going to introduce (me/your friend)?..................................................
3 You can say (me/what you like).............................................................................
4 Who suggested (this idea/you)?............................................................................
5 He confessed (his crime/the police)......................................................................
6 I have never admitted (anyone/this).....................................................................
7 Can you describe (me/this man)?..........................................................................
8 Please don't mention (this/anyone)......................................................................
9 I’m going to report (this/the headmaster)............................................................
10 I don't want you to repeat (what I told you/anyone)..........................................

1.3C The two meanings of 'for'
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1   We can use for after all verbs which have two objects.

2 When we use for after verbs normally followed by to (give, post, read, sell, show, tell, etc.) it can mean 'instead of: I'll post it for you. (= to save you the trouble)

3 When we use for after verbs normally followed by for (buy, choose, do, find, keep, order, etc.) the meaning depends on the context. It can mean for someone's benefit':
Mother cooked a lovely meal for me. (= for my benefit, for me to enjoy)
It can mean 'on someone's behalf/instead of:
I’ll cook the dinner for you. (on your behalf/instead of you - to save you the trouble)
Write:    Tick on the right to show whether for means instead of you/me or
for your/my benefit.
                                                                                        'instead of’               'for your/my  
                                                                                                                             benefit'                    
1   I've cooked a meal for you and I hope you enjoy it.           __                            __                
2  Let me cook the dinner for you this evening.-Thanks!      __                            __
3  I've made this cake for you. Do you like it?                          __                            __
4  I'll post this letter for you, shall I?                                         __                            __
5  I've bought this especially for you.                                         __                            __
6  I've got some change. Let me pay the bill for you.             __                             __
7  As you're busy, let me book a room for you.                        __                            __
8  I've saved some of this pudding for you.                              __                            __
9  I can't choose a tie myself. Please choose one for me.       __                            __
10 My father has bought a wonderful present for me.           __                            __

1.3D   Context

Write:     Put a tick where you think you can change the word order.
Then write the alternative.
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A CURE FOR HYSTERIA
[adapted from Longman English Grammar Practice by L G Alexander]


When I was a girl, my parents sent me to a very strict school. They had to buy an expensive uniform for me1 __ and pay school fees for me2__. Our headmistress, Miss Prim, never smiled. She explained the school rules to us3__and expected us to obey them. 'I will never say anything to you4__twice,' she used to say. We had to write a letter to our parents5__ once a week and show it to Miss Prim6__ before we sent it. I can still remember some of the school rules. We were not allowed to lend anything to anyone7__. We were not allowed to give each other help8__with homework. We had to report unusual situations to the headmistress9__. One morning, during assembly, a girl fainted. The next morning, two more fainted. This continued to happen for several mornings. Mass hysteria had set in! But Miss Prim put an end to it. She announced a new rule to us10__: 'No girl will faint in College!' And after that, no one did!
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How would you interpret the message on Jim Carrey's upper face - I mean, what do you understand by that?