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S 36
Schoolman, Morton,.
A democratic enlightenment : : the reconciliation image, aesthetic education, possible politics / / Morton Schoolman. - Durham : : Duke University Press,, ©2020. - 1 online resource (xi, 318 pages). - Includes bibliographical references and index. - URL: https://library.dvfu.ru/lib/document/SK_ELIB/8455385F-2217-486E-804B-AF3580903076. - ISBN 1478009055 (electronic book). - ISBN 9781478009054 (electronic bk.)
Online resource; title from digital title page (viewed on April 24, 2020).
Параллельные издания: Print version: : Schoolman, Morton, 1947- A democratic enlightenment. - Durham : Duke University Press, 2020. - ISBN 9781478007654
Содержание:
Introduction: Past as Prologue -- Part I. The Reconciliation Image in Whitman -- Democratic Vistas: Democratic Enlightenment and Reconciliation -- Whitman's Discovery: Aesthetic Education through the Visual Image -- First Bridge: Thinking with Adorno against Adorno -- Part II. The Reconciliation Image in Adorno -- Aesthetic Reason and Reflexivity, Twin Economies and Democratic Effects -- Aesthetic Analogs: Art and Film -- Second Bridge: The Reconciliation Image versus the Narrative Structure of Film -- Part III. The Reconciliation Image in Film -- The Help: Entangled in a Becoming -- Gentlemen's Agreement: Beyond Tolerance -- The Reconciliation Image in Film as Universal Art Form.
~РУБ DDC 811/.3
Рубрики: Reconciliation in literature.
Reconciliation in motion pictures.
Toleration--Philosophy.
Visual learning.
Aesthetics.
Reconciliation in literature.
Reconciliation in motion pictures.
Visual learning.
POLITICAL SCIENCE / History & Theory
Аннотация: "A DEMOCRATIC ENLIGHTENMENT uses the idea of the reconciliation image-developed first by Walt Whitman and expanded in the aesthetic theory of Theodor Adorno-to argue that we are experiencing a new enlightenment moment revolving around the visual aesthetics of film. Political theorist Morton Schoolman argues that films such as The Help and Gentleman's Agreement, which depict violence towards difference (in this case, towards people of color and Jews, respectively) offer a visual image of reconciliation that can serve as a type of aesthetic education, teaching US viewers how to cultivate a democratic sensibility. Schoolman sees this democratic enlightenment as an heir to the earlier European Enlightenment, but expanded beyond Europe. For Schoolman, this new and ongoing democratic enlightenment compels us to revise our conception of enlightenment and how it takes place-not only through language, but also through visual images. The book is divided into three parts: the first focused on Whitman's poetry, the second on Adorno, and the third on the reconciliation image in film. Schoolman first takes up Whitman's 1871 essay Democratic Vistas, which argues that reconciliation is the ideal defining democracy, and that America lacks a cultural aesthetic education to teach this democratic value. According to Schoolman, Whitman seeks to answer this lack with his own poetry, which invokes imagery to teach democratic lessons in a visual form: all-inclusiveness, receptivity, and the imitation of difference. Next, Schoolman traces the concept of aesthetic reason to Adorno and Horkheimer, using their work as the philosophical basis for his claim that aesthetic reason serves as a foundation for the reconciliation image. Instead of understanding the politics of film simply through its narrative structures, Schoolman attends to the aesthetics of two contemporary films to show how they present a complex pedagogy of reconciliation. While some might understand The Help as a white savior narrative, Schoolman argues that the imagery of the movie instead conveys the democratic ideal of reconciling identity and difference. Similarly, while the storyline of Gentleman's Agreement culminates in a narrow politics of tolerance, the imagery of characters negotiating their identity-including presenting as non-Jewish to avoid overt and tacit anti-Semitism in an American suburb-helps us visualize in images of difference the possible politics of becoming different. A DEMOCRATIC ENLIGHTENMENT will interest scholars of literary studies, film, political theory, and critical theory"--
Доп.точки доступа:
Whitman, Walt,
Adorno, Theodor W.,
S 36
Schoolman, Morton,.
A democratic enlightenment : : the reconciliation image, aesthetic education, possible politics / / Morton Schoolman. - Durham : : Duke University Press,, ©2020. - 1 online resource (xi, 318 pages). - Includes bibliographical references and index. - URL: https://library.dvfu.ru/lib/document/SK_ELIB/8455385F-2217-486E-804B-AF3580903076. - ISBN 1478009055 (electronic book). - ISBN 9781478009054 (electronic bk.)
Online resource; title from digital title page (viewed on April 24, 2020).
Параллельные издания: Print version: : Schoolman, Morton, 1947- A democratic enlightenment. - Durham : Duke University Press, 2020. - ISBN 9781478007654
Содержание:
Introduction: Past as Prologue -- Part I. The Reconciliation Image in Whitman -- Democratic Vistas: Democratic Enlightenment and Reconciliation -- Whitman's Discovery: Aesthetic Education through the Visual Image -- First Bridge: Thinking with Adorno against Adorno -- Part II. The Reconciliation Image in Adorno -- Aesthetic Reason and Reflexivity, Twin Economies and Democratic Effects -- Aesthetic Analogs: Art and Film -- Second Bridge: The Reconciliation Image versus the Narrative Structure of Film -- Part III. The Reconciliation Image in Film -- The Help: Entangled in a Becoming -- Gentlemen's Agreement: Beyond Tolerance -- The Reconciliation Image in Film as Universal Art Form.
Рубрики: Reconciliation in literature.
Reconciliation in motion pictures.
Toleration--Philosophy.
Visual learning.
Aesthetics.
Reconciliation in literature.
Reconciliation in motion pictures.
Visual learning.
POLITICAL SCIENCE / History & Theory
Аннотация: "A DEMOCRATIC ENLIGHTENMENT uses the idea of the reconciliation image-developed first by Walt Whitman and expanded in the aesthetic theory of Theodor Adorno-to argue that we are experiencing a new enlightenment moment revolving around the visual aesthetics of film. Political theorist Morton Schoolman argues that films such as The Help and Gentleman's Agreement, which depict violence towards difference (in this case, towards people of color and Jews, respectively) offer a visual image of reconciliation that can serve as a type of aesthetic education, teaching US viewers how to cultivate a democratic sensibility. Schoolman sees this democratic enlightenment as an heir to the earlier European Enlightenment, but expanded beyond Europe. For Schoolman, this new and ongoing democratic enlightenment compels us to revise our conception of enlightenment and how it takes place-not only through language, but also through visual images. The book is divided into three parts: the first focused on Whitman's poetry, the second on Adorno, and the third on the reconciliation image in film. Schoolman first takes up Whitman's 1871 essay Democratic Vistas, which argues that reconciliation is the ideal defining democracy, and that America lacks a cultural aesthetic education to teach this democratic value. According to Schoolman, Whitman seeks to answer this lack with his own poetry, which invokes imagery to teach democratic lessons in a visual form: all-inclusiveness, receptivity, and the imitation of difference. Next, Schoolman traces the concept of aesthetic reason to Adorno and Horkheimer, using their work as the philosophical basis for his claim that aesthetic reason serves as a foundation for the reconciliation image. Instead of understanding the politics of film simply through its narrative structures, Schoolman attends to the aesthetics of two contemporary films to show how they present a complex pedagogy of reconciliation. While some might understand The Help as a white savior narrative, Schoolman argues that the imagery of the movie instead conveys the democratic ideal of reconciling identity and difference. Similarly, while the storyline of Gentleman's Agreement culminates in a narrow politics of tolerance, the imagery of characters negotiating their identity-including presenting as non-Jewish to avoid overt and tacit anti-Semitism in an American suburb-helps us visualize in images of difference the possible politics of becoming different. A DEMOCRATIC ENLIGHTENMENT will interest scholars of literary studies, film, political theory, and critical theory"--
Доп.точки доступа:
Whitman, Walt,
Adorno, Theodor W.,
2.
Подробнее
S 50
Setton, Robin,.
Conference interpreting : : a complete course / / Robin Setton ; Andrew Dawrant. - Amsterdam ; ; Philadelphia : : John Benjamins Publishing Company,, [2016]. - 1 online resource. - (Benjamins Translation Library ; ; v.120). - Includes bibliographical references and index. - URL: https://library.dvfu.ru/lib/document/SK_ELIB/D432976E-67F1-493B-8170-5C207188F2BA. - ISBN 9789027267573 (pdf). - ISBN 902726757X (pdf)
Print version record and CIP data provided by publisher.
Параллельные издания: Print version: : Setton, Robin. Conference interpreting. - Amsterdam ; Philadelphia : John Benjamins Publishing Company, [2016]. - ISBN 9789027258618
Содержание:
Intro -- Conference Interpreting A Complete Course -- Editorial page -- Title page -- LCC data -- Authors' bios -- Table of contents -- List of tables and figures -- Abbreviations -- General introduction -- Training interpreters: tradition and innovation -- Progression and incremental realism -- Full realism: going the last mile -- 'Bi-active' SI -- Teaching professionalism -- Acknowledgements -- 1. Introduction to the Complete Course -- 2. The interpreter's job -- 2.1 Introduction -- 2.1.1 Defining the task -- 2.1.2 Interpreting vs. written translation -- 2.1.3 Why is it called 'interpreting'? -- 2.1.4 How verbal communication works -- 2.1.5 Mediated communication (with a change of language) -- 2.1.6 Language: crucial but not sufficient -- 2.1.7 The interpreter as mediator -- 2.1.8 Mediation: neutral vs. affiliated roles -- 2.2 Modes of interpreting -- 2.2.1 Consecutive interpreting -- 2.2.2 Simultaneous interpreting -- 2.2.3 Sight translation -- 2.2.4 Informal and makeshift arrangements -- 2.2.4.1 Whispered interpretation ('chuchotage') -- 2.2.4.2 'Bidule' interpreting -- 2.2.5 Modes: mix and distribution -- 2.3 Diversity in interpreting -- 2.3.1 Domains and settings -- 2.3.1.1 'Natural' and improvized interpreting -- 2.3.1.2 Community-based and public-service -- 2.3.1.3 Business and in-house interpreting -- 2.3.1.4 Judicial, courtroom and legal interpreting -- 2.3.1.5 Military and conflict interpreting -- 2.3.1.6 Conference interpreting -- 2.3.1.7 Diplomatic interpreting -- 2.3.1.8 Broadcast and media interpreting -- 2.3.1.9 Tele- or remote interpreting -- 2.3.2 Sign(ed) language interpreting (SLI) -- 2.3.2.1 Modality, mode, settings and role -- 2.3.2.2 Professionalization and training -- 2.3.3 Mediation in different modes and settings -- 2.3.4 Diversity in interpreting: summary -- 2.4 Common competencies: 'LKSP' -- 2.5 Skillsets and settings.
2.5.1 Common skills and specialization -- 2.5.2 Hierarchical classifications -- 2.5.3 Skillsets, settings and specialization -- some caveats -- 2.5.4 Professionalism, personality and adaptability -- 2.5.5 Modularity and skillset-specific training -- 2.6 The interpreter's language combination -- 2.6.1 Language classification and combinations -- 2.6.2 Getting there: from novice to journeyman -- 2.7 Summary -- Further reading -- Appendix A -- Appendix B -- 3. Prerequisites and admission -- 3.1 Introduction -- 3.1.1 Who can be a conference interpreter? -- 3.1.2 The course: what to expect -- 3.2 Selection criteria -- 3.2.1 Language proficiency -- 3.2.1.1 The A language(s) -- 3.2.1.2 Comprehension of B and C languages -- 3.2.1.3 Active B language: 'Bcons' and 'Bsim' -- 3.2.2 Verbal intelligence and communicative skills -- 3.2.3 General knowledge -- 3.2.4 Personal qualities -- 3.2.5 Additional pluses -- 3.3 The admission test -- 3.4 How to prepare -- 3.4.1 Realistic self-assessment: is this for me? -- 3.4.2 General advice and information to applicants -- 3.4.3 How to prepare -- 3.4.4 Personal study: some recommendations -- 3.4.4.1 Understanding factors in comprehension difficulty -- 3.4.4.2 Working with a partner -- 3.5 Studying in the B-language country -- 3.6 Summary -- Further reading -- 4. Initiation to interpreting -- 4.1 Introduction -- 4.2 From Active Listening to Discourse Modelling -- 4.2.1 Active Listening -- 4.2.1.1 Ways of listening -- 4.2.1.2 Mobilizing relevant knowledge -- 4.2.1.3 Empathy and the speaker's communicative intent -- 4.2.1.4 Imagination -- 4.2.2 Exercises for Active Listening -- 4.2.2.1 Idiomatic Gist (B/C-into-A) -- 4.2.2.2 Listening Cloze -- 4.2.3 Discourse modelling and outlining -- Discourse outlining -- Discourse outlining: procedure -- 4.2.4 Concision, compression, summary and gisting -- 4.2.4.1 Compression exercise.
4.2.4.2 (Optional) resequencing exercise -- 4.3 'Deverbalization' and interference-busting -- 4.3.1 Deverbalization and the Théorie du sens -- 4.3.2 Introduction to Sight Translation -- 4.4 Short Consecutive without notes -- 4.4.1 Materials and classroom procedure -- 4.4.2 Dos and don'ts: ground rules of interpreting -- 4.4.3 Role and mediation issues (impartiality and fidelity) -- 4.4.3.1 Over-translation and under-translation -- 4.4.3.2 The interpreter's role: basics -- 4.5 Public Speaking and delivery skills -- 4.5.1 Components of Public Speaking -- 4.5.1.1 Delivery ('ethos') -- 4.5.1.2 Structure and signposting ('logos') -- 4.5.1.3 Language, expression, rhetoric ('pathos') -- 4.5.2 Public Speaking: summary -- 4.6 Putting it all together: listening, capturing and speaking -- 4.6.1 Consecutive without notes: materials, procedure and feedback -- 4.6.2 Initiation: objectives -- 4.7 Self-directed learning: first steps -- 4.7.1 Independent study and practice -- 4.7.1.1 The art of oralising -- 4.7.1.2 Group practice -- 4.8 Bridging gaps: some theory for students -- 4.8.1 The triple focus of Initiation: Understanding, Mediating, Delivering -- 4.8.2 Interpreting as 'communication-plus': a model -- 4.8.3 Linguistic interference -- 4.8.4 Interpreting and transcoding: are 'ready equivalents' useful? -- 4.8.5 Knowledge: how much do we need to interpret? -- Specialized and technical knowledge and interpreting -- 4.9 Summary -- Further reading -- 5. Consecutive interpreting -- 5.1 Introduction -- 5.1.1 History and specificity -- 5.1.2 Long vs. short consecutive -- 5.1.3 How does full consecutive (with notes) work? -- Consecutive interpreting: a simple model -- 5.1.4 Overview: consecutive expertise in five stages -- 5.2 Introduction to Note-Taking (S1 weeks 5/6-9) -- 5.3 Note-taking I: Cue-words and links -- 5.3.1 Materials and classroom procedure.
5.3.2 How to note links -- 5.3.3 Choosing the right cue-word: exercise -- 5.4 Note-taking II: the standard method -- 5.4.1 Origins and key features -- 5.4.2 Layout -- Exercise: 'Slow notes' -- 5.4.3 Information capture -- 5.4.3.1 Simplification -- 5.4.3.2 Abbreviation -- 5.4.3.3 Symbols, sketches and combinations -- 5.4.4 Note-taking III: completing the toolkit -- 5.4.5 Demonstration and practice -- 5.5 Coordination (mid-S1) -- 5.5.1 Objectives, materials and focus -- 5.5.2 Making choices in real time -- 5.5.3 The method and the individual -- 5.5.4 Group practice -- 5.6 Experimentation (late S1, early S2) -- 5.6.1 Focus: adaptation and flexibility -- 5.6.2 Materials and objectives -- 5.6.3 Time and motion: varying the 'Ear-Pen Span' -- 5.6.4 Class organization and feedback -- 5.6.5 Exercise: Real Consecutive (end of Semester 1) -- 5.6.6 Experimentation: summary -- 5.7 Consolidation (mid-S2 onwards) -- 5.7.1 Focus, objectives and materials -- 5.7.2 Coherence: leveraging the consecutive mode -- 5.7.3 Precision -- 5.8 Polishing and Advanced Consecutive (Year 2, S3-S4) -- 5.8.1 Focus, objectives and materials -- 5.8.2 Polishing the product -- 5.8.3 Coping with pressure -- 5.8.4 Optimizing communication -- 5.8.4.1 Degrees and types of optimization -- 5.8.4.2 Stronger forms of mediation -- 5.9 Summary -- Further reading -- Appendix A -- Appendix B -- Appendix C -- 6. Sight translation -- 6.1 Introduction -- 6.2 Steps to full Sight Translation -- 6.2.1 Controlled Sight Translation -- 6.2.2 Full Sight Translation -- 6.2.3 Sight Translation into B and as preparation for SI -- 6.2.4 Word order, context and 'syntacrobatics' -- 6.3 Pedagogical ST variations as preparation for SI (S2 and S3) -- 6.3.1 Pre-segmented Sight Translation: chunking and joining -- 6.3.2 Imposed starts and constructions -- 6.3.3 'Consecutive from text' -- 6.4 Summary -- Further reading.
7. Language and knowledge enhancement -- 7.1 Introduction and overview -- 7.2 Language enhancement for interpreters: specificity and goals -- 7.2.1 Specificity of LE for interpreting -- 7.2.2 Goals of L(K)E for interpreting -- 7.2.3 Independent study and practice -- 7.3 Comprehension (B and C languages) -- 7.3.1 Objectives -- 7.3.2 Reading for language and knowledge enhancement -- 7.3.3 Listening -- 7.4 Production (A and B languages) -- 7.4.1 Enriching the A language -- 7.4.2 Strengthening the B language: exercises and activities -- 7.4.2.1 Imitation and immersion -- 7.4.2.2 Remedial linguistic polishing -- 7.4.2.3 Deverbalization and interference-proofing -- 7.4.2.4 Linguistic feedback on interpreting performance -- 7.4.2.5 Written translation into B -- 7.5 Lexical availability: managing words -- 7.5.1 Building the 'bilingual phrasebook' -- 7.5.2 How to (re-)learn words -- 7.5.3 Using advanced second-language learning textbooks or media -- Further reading -- Appendix A -- 8. Simultaneous interpreting (SI) -- 8.1 Introduction -- 8.1.1 The SI set-up -- 8.1.2 The origins and history of SI -- 8.1.3 How does SI work? -- 8.1.4 SI training in five stages: An overview -- 8.2 SI-Initiation: discovering SI -- 8.2.1 Orientation -- 8.2.1.1 Settling in: the booth, equipment and manners -- 8.2.2 Initiation 'Strand A': easy SI on line -- 8.2.3 Initiation 'Strand B': controlled input (off-line) -- 8.2.3.1 Dripfed or Scrolled ST (late S2 or early S3 [TG-3.3.2]) -- 8.2.3.2 Chunk-by-chunk interpreting (oral input) -- 8.2.3.3 Circle Game (Interpreters' 'Consequences') -- 8.2.4 Transition to real SI: Spoonfeeding -- 8.3 Coordination and control (around 3-5 weeks) -- 8.3.1 Faster Spoonfeeding -- 8.3.2 SI with Training Wheels (Consecutive first) -- 8.3.3 'Simultaneous Consecutive' -- 8.3.4 Take-off: real SI on fresh trainer speeches.
~РУБ DDC 418/.02071
Рубрики: Congresses and conventions--Translating services.
Translating services
Translating and interpreting
FOREIGN LANGUAGE STUDY--Multi-Language Phrasebooks.
LANGUAGE ARTS & DISCIPLINES--Alphabets & Writing Systems.
LANGUAGE ARTS & DISCIPLINES--Grammar & Punctuation.
LANGUAGE ARTS & DISCIPLINES--Linguistics--General.
LANGUAGE ARTS & DISCIPLINES--Readers.
LANGUAGE ARTS & DISCIPLINES--Spelling.
Congresses and conventions--Translating services.
Translating and interpreting.
Translating services.
Доп.точки доступа:
Dawrant, Andrew, \author.\
S 50
Setton, Robin,.
Conference interpreting : : a complete course / / Robin Setton ; Andrew Dawrant. - Amsterdam ; ; Philadelphia : : John Benjamins Publishing Company,, [2016]. - 1 online resource. - (Benjamins Translation Library ; ; v.120). - Includes bibliographical references and index. - URL: https://library.dvfu.ru/lib/document/SK_ELIB/D432976E-67F1-493B-8170-5C207188F2BA. - ISBN 9789027267573 (pdf). - ISBN 902726757X (pdf)
Print version record and CIP data provided by publisher.
Параллельные издания: Print version: : Setton, Robin. Conference interpreting. - Amsterdam ; Philadelphia : John Benjamins Publishing Company, [2016]. - ISBN 9789027258618
Содержание:
Intro -- Conference Interpreting A Complete Course -- Editorial page -- Title page -- LCC data -- Authors' bios -- Table of contents -- List of tables and figures -- Abbreviations -- General introduction -- Training interpreters: tradition and innovation -- Progression and incremental realism -- Full realism: going the last mile -- 'Bi-active' SI -- Teaching professionalism -- Acknowledgements -- 1. Introduction to the Complete Course -- 2. The interpreter's job -- 2.1 Introduction -- 2.1.1 Defining the task -- 2.1.2 Interpreting vs. written translation -- 2.1.3 Why is it called 'interpreting'? -- 2.1.4 How verbal communication works -- 2.1.5 Mediated communication (with a change of language) -- 2.1.6 Language: crucial but not sufficient -- 2.1.7 The interpreter as mediator -- 2.1.8 Mediation: neutral vs. affiliated roles -- 2.2 Modes of interpreting -- 2.2.1 Consecutive interpreting -- 2.2.2 Simultaneous interpreting -- 2.2.3 Sight translation -- 2.2.4 Informal and makeshift arrangements -- 2.2.4.1 Whispered interpretation ('chuchotage') -- 2.2.4.2 'Bidule' interpreting -- 2.2.5 Modes: mix and distribution -- 2.3 Diversity in interpreting -- 2.3.1 Domains and settings -- 2.3.1.1 'Natural' and improvized interpreting -- 2.3.1.2 Community-based and public-service -- 2.3.1.3 Business and in-house interpreting -- 2.3.1.4 Judicial, courtroom and legal interpreting -- 2.3.1.5 Military and conflict interpreting -- 2.3.1.6 Conference interpreting -- 2.3.1.7 Diplomatic interpreting -- 2.3.1.8 Broadcast and media interpreting -- 2.3.1.9 Tele- or remote interpreting -- 2.3.2 Sign(ed) language interpreting (SLI) -- 2.3.2.1 Modality, mode, settings and role -- 2.3.2.2 Professionalization and training -- 2.3.3 Mediation in different modes and settings -- 2.3.4 Diversity in interpreting: summary -- 2.4 Common competencies: 'LKSP' -- 2.5 Skillsets and settings.
2.5.1 Common skills and specialization -- 2.5.2 Hierarchical classifications -- 2.5.3 Skillsets, settings and specialization -- some caveats -- 2.5.4 Professionalism, personality and adaptability -- 2.5.5 Modularity and skillset-specific training -- 2.6 The interpreter's language combination -- 2.6.1 Language classification and combinations -- 2.6.2 Getting there: from novice to journeyman -- 2.7 Summary -- Further reading -- Appendix A -- Appendix B -- 3. Prerequisites and admission -- 3.1 Introduction -- 3.1.1 Who can be a conference interpreter? -- 3.1.2 The course: what to expect -- 3.2 Selection criteria -- 3.2.1 Language proficiency -- 3.2.1.1 The A language(s) -- 3.2.1.2 Comprehension of B and C languages -- 3.2.1.3 Active B language: 'Bcons' and 'Bsim' -- 3.2.2 Verbal intelligence and communicative skills -- 3.2.3 General knowledge -- 3.2.4 Personal qualities -- 3.2.5 Additional pluses -- 3.3 The admission test -- 3.4 How to prepare -- 3.4.1 Realistic self-assessment: is this for me? -- 3.4.2 General advice and information to applicants -- 3.4.3 How to prepare -- 3.4.4 Personal study: some recommendations -- 3.4.4.1 Understanding factors in comprehension difficulty -- 3.4.4.2 Working with a partner -- 3.5 Studying in the B-language country -- 3.6 Summary -- Further reading -- 4. Initiation to interpreting -- 4.1 Introduction -- 4.2 From Active Listening to Discourse Modelling -- 4.2.1 Active Listening -- 4.2.1.1 Ways of listening -- 4.2.1.2 Mobilizing relevant knowledge -- 4.2.1.3 Empathy and the speaker's communicative intent -- 4.2.1.4 Imagination -- 4.2.2 Exercises for Active Listening -- 4.2.2.1 Idiomatic Gist (B/C-into-A) -- 4.2.2.2 Listening Cloze -- 4.2.3 Discourse modelling and outlining -- Discourse outlining -- Discourse outlining: procedure -- 4.2.4 Concision, compression, summary and gisting -- 4.2.4.1 Compression exercise.
4.2.4.2 (Optional) resequencing exercise -- 4.3 'Deverbalization' and interference-busting -- 4.3.1 Deverbalization and the Théorie du sens -- 4.3.2 Introduction to Sight Translation -- 4.4 Short Consecutive without notes -- 4.4.1 Materials and classroom procedure -- 4.4.2 Dos and don'ts: ground rules of interpreting -- 4.4.3 Role and mediation issues (impartiality and fidelity) -- 4.4.3.1 Over-translation and under-translation -- 4.4.3.2 The interpreter's role: basics -- 4.5 Public Speaking and delivery skills -- 4.5.1 Components of Public Speaking -- 4.5.1.1 Delivery ('ethos') -- 4.5.1.2 Structure and signposting ('logos') -- 4.5.1.3 Language, expression, rhetoric ('pathos') -- 4.5.2 Public Speaking: summary -- 4.6 Putting it all together: listening, capturing and speaking -- 4.6.1 Consecutive without notes: materials, procedure and feedback -- 4.6.2 Initiation: objectives -- 4.7 Self-directed learning: first steps -- 4.7.1 Independent study and practice -- 4.7.1.1 The art of oralising -- 4.7.1.2 Group practice -- 4.8 Bridging gaps: some theory for students -- 4.8.1 The triple focus of Initiation: Understanding, Mediating, Delivering -- 4.8.2 Interpreting as 'communication-plus': a model -- 4.8.3 Linguistic interference -- 4.8.4 Interpreting and transcoding: are 'ready equivalents' useful? -- 4.8.5 Knowledge: how much do we need to interpret? -- Specialized and technical knowledge and interpreting -- 4.9 Summary -- Further reading -- 5. Consecutive interpreting -- 5.1 Introduction -- 5.1.1 History and specificity -- 5.1.2 Long vs. short consecutive -- 5.1.3 How does full consecutive (with notes) work? -- Consecutive interpreting: a simple model -- 5.1.4 Overview: consecutive expertise in five stages -- 5.2 Introduction to Note-Taking (S1 weeks 5/6-9) -- 5.3 Note-taking I: Cue-words and links -- 5.3.1 Materials and classroom procedure.
5.3.2 How to note links -- 5.3.3 Choosing the right cue-word: exercise -- 5.4 Note-taking II: the standard method -- 5.4.1 Origins and key features -- 5.4.2 Layout -- Exercise: 'Slow notes' -- 5.4.3 Information capture -- 5.4.3.1 Simplification -- 5.4.3.2 Abbreviation -- 5.4.3.3 Symbols, sketches and combinations -- 5.4.4 Note-taking III: completing the toolkit -- 5.4.5 Demonstration and practice -- 5.5 Coordination (mid-S1) -- 5.5.1 Objectives, materials and focus -- 5.5.2 Making choices in real time -- 5.5.3 The method and the individual -- 5.5.4 Group practice -- 5.6 Experimentation (late S1, early S2) -- 5.6.1 Focus: adaptation and flexibility -- 5.6.2 Materials and objectives -- 5.6.3 Time and motion: varying the 'Ear-Pen Span' -- 5.6.4 Class organization and feedback -- 5.6.5 Exercise: Real Consecutive (end of Semester 1) -- 5.6.6 Experimentation: summary -- 5.7 Consolidation (mid-S2 onwards) -- 5.7.1 Focus, objectives and materials -- 5.7.2 Coherence: leveraging the consecutive mode -- 5.7.3 Precision -- 5.8 Polishing and Advanced Consecutive (Year 2, S3-S4) -- 5.8.1 Focus, objectives and materials -- 5.8.2 Polishing the product -- 5.8.3 Coping with pressure -- 5.8.4 Optimizing communication -- 5.8.4.1 Degrees and types of optimization -- 5.8.4.2 Stronger forms of mediation -- 5.9 Summary -- Further reading -- Appendix A -- Appendix B -- Appendix C -- 6. Sight translation -- 6.1 Introduction -- 6.2 Steps to full Sight Translation -- 6.2.1 Controlled Sight Translation -- 6.2.2 Full Sight Translation -- 6.2.3 Sight Translation into B and as preparation for SI -- 6.2.4 Word order, context and 'syntacrobatics' -- 6.3 Pedagogical ST variations as preparation for SI (S2 and S3) -- 6.3.1 Pre-segmented Sight Translation: chunking and joining -- 6.3.2 Imposed starts and constructions -- 6.3.3 'Consecutive from text' -- 6.4 Summary -- Further reading.
7. Language and knowledge enhancement -- 7.1 Introduction and overview -- 7.2 Language enhancement for interpreters: specificity and goals -- 7.2.1 Specificity of LE for interpreting -- 7.2.2 Goals of L(K)E for interpreting -- 7.2.3 Independent study and practice -- 7.3 Comprehension (B and C languages) -- 7.3.1 Objectives -- 7.3.2 Reading for language and knowledge enhancement -- 7.3.3 Listening -- 7.4 Production (A and B languages) -- 7.4.1 Enriching the A language -- 7.4.2 Strengthening the B language: exercises and activities -- 7.4.2.1 Imitation and immersion -- 7.4.2.2 Remedial linguistic polishing -- 7.4.2.3 Deverbalization and interference-proofing -- 7.4.2.4 Linguistic feedback on interpreting performance -- 7.4.2.5 Written translation into B -- 7.5 Lexical availability: managing words -- 7.5.1 Building the 'bilingual phrasebook' -- 7.5.2 How to (re-)learn words -- 7.5.3 Using advanced second-language learning textbooks or media -- Further reading -- Appendix A -- 8. Simultaneous interpreting (SI) -- 8.1 Introduction -- 8.1.1 The SI set-up -- 8.1.2 The origins and history of SI -- 8.1.3 How does SI work? -- 8.1.4 SI training in five stages: An overview -- 8.2 SI-Initiation: discovering SI -- 8.2.1 Orientation -- 8.2.1.1 Settling in: the booth, equipment and manners -- 8.2.2 Initiation 'Strand A': easy SI on line -- 8.2.3 Initiation 'Strand B': controlled input (off-line) -- 8.2.3.1 Dripfed or Scrolled ST (late S2 or early S3 [TG-3.3.2]) -- 8.2.3.2 Chunk-by-chunk interpreting (oral input) -- 8.2.3.3 Circle Game (Interpreters' 'Consequences') -- 8.2.4 Transition to real SI: Spoonfeeding -- 8.3 Coordination and control (around 3-5 weeks) -- 8.3.1 Faster Spoonfeeding -- 8.3.2 SI with Training Wheels (Consecutive first) -- 8.3.3 'Simultaneous Consecutive' -- 8.3.4 Take-off: real SI on fresh trainer speeches.
Рубрики: Congresses and conventions--Translating services.
Translating services
Translating and interpreting
FOREIGN LANGUAGE STUDY--Multi-Language Phrasebooks.
LANGUAGE ARTS & DISCIPLINES--Alphabets & Writing Systems.
LANGUAGE ARTS & DISCIPLINES--Grammar & Punctuation.
LANGUAGE ARTS & DISCIPLINES--Linguistics--General.
LANGUAGE ARTS & DISCIPLINES--Readers.
LANGUAGE ARTS & DISCIPLINES--Spelling.
Congresses and conventions--Translating services.
Translating and interpreting.
Translating services.
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