Thank you very much for giving me the opportunity to be with you.
Although remotely and well, some of you know that I couldn't be there
because I just had two babies, so it was a bit difficult.
So to to, to,
to leave them with their grandmother and just fly to to Madrid.
But then. Yeah, next time,
next time there will be chances to meet in person.
Now to start with our presentation.
Fabien I decided that Fabio will be presenting
and will be moving on with the presentation as I speak along.
All right, So as you can see, the title of this presentation
is about has a viable technique in literature, in language, education,
a modest proposal, and why we have this modest proposal.
Well, basically because unlike some of the presentations
that have been already given over the last two days, where
they are based on experiments that were already carried out
and the results that they yield yielded,
our proposal is actually based on something that is yet to come.
So specifically
in our overview, what we want to
talk to the talk about today is first of all,
about media accessibility and a sort of a change in perspective
regarding the way that media accessibility
is always or often conceived
by scholars and practitioners
will then move on, giving you
just a brief, a very brief overview of the state of the art
regarding Native app projects in language learning and teaching.
And then we're going to be presenting our project that is called Love too.
So is trying to use
visual translation in second language acquisition.
And then I'm going to give the floor to my colleague,
colleague Fabio, who is going to present our case study,
and then we're going to talk about future developments.
Now, talking about media accessibility,
well, accessibility is often defined.
And is it a practice that caters to the needs
of specific groups, often persons with disabilities.
But accessibility should be instead
seen as an instrument
for all human rights, for the human rights of all.
This is what Greco in 2016 and 2018
called universalist accounts
and why this is there is this change in perspective
between perspective, because whether the HADO is a language
or a sensorial barrier, the aim of the translation process
is the same meaning, as the syntax
pointed out to facilitate the access
to another was hermetic source of information and entertainment.
So what we wanted to do is like conserving
media accessibility in a broader perspective
from a broader perspective, and possibly
basically considering how
we can be applied as part of all audio
visual translator the audiovisual translation at large.
So as we said, as I said
earlier on
audio visual translation in language learning and teaching.
Fabio, can you please go on? Yeah.
As being already tackled by a very important project.
So for example, device clip flow and obviously try relax
we try to
all this project's aim indeed to develop it
as a didactic tool in the actual learning process,
and it's testing across several languages.
Clip flow particularly was very successful
over time and indeed led to late 2019,
proposed an overview of the many projects
and experiments that were carried out through this
platform, but not only that one, but even other projects.
The interesting thing is that the European
Union often funded such projects.
But however, the problem is that sometimes due to the lack
of fundings, these projects,
sometimes cannot be updated and their INTERFET interfaces
and platforms that they use sometimes cannot be updated to.
Indeed, due to the lack of funds.
Now, considering this,
what we wanted to do, basically obviously all these of these projects
have been a terrific source of inspiration for our loved project.
These last two aims to further explores the application, explore
the application of visual translation as a pedagogical tool
to enhance the students language, competence and translation skills.
In particular, what we want to do is to develop an ad hoc
and user friendly platform for students and teachers
to foster second language acquisition and competencies
in audiovisual translation.
The interesting part about this project is that the platform
will use the existing technological infrastructure at Sapienza,
and this means that it will guarantee its longer
lasting existence and continuous updating.
What we want to use is a task based approach
by which instructors and students will be able to use software tools
to enhance teaching, encourage scaffolding
and collaborative learning, as well as self assessment.
This is I'm stressing this particularly
because what we envisage is that students will be able to
evaluate in parts of themselves in their progress.
So the most importantly, the technologic component of this
project will allow students to be active contributors to their own
learning process and also help develop
metrics, cognitive awareness.
And so the general aims of love are
that students will be able
to choose their level of involvement and level and type of involvement.
For example, some of the students we want to
deal with any with the many
modes.
And this means that, for example, if they are dealing with a zapping,
some might choose to simply
translate the scripts, either to perform
a dubbing
clip, others may be just
maybe just prefer to subtitle or to Algiers audio.
Describe a clip.
And the other interesting element is that students may enhance
their community communicative and relational skills.
For example, internalizing the character's point of view
and interacting with their peers.
We want to improve, improve memorability, pronunciation,
oral in our skills reading and writing skills in the L1, L2,
and possibly L3 if they speak the language of the study.
Author, language and interest in this matches
what Anna was talking about
earlier on this morning when during their plenary,
when she was stressing the importance of also using ADT
to enhance competencies in the student's native language.
We will be hopefully
encouraging students to reflect on the task
so that they are at the task, the task at hand, either
individually in person or via a group discussion.
So also we what we want to try and do is to enhance
individual characteristics and resources and, as I said,
provide immediate feedback on the student's work,
which is connected to their ideas of motivation
and rewards of. Now,
the project was proposed
and approved by Sapienza and so that started
in December 2022 and will carry out carry on for the next two years.
And these are some of the part
the participants and partners to our projects.
You might recognize some of the names
like Alexa,
Alex Bolanos, Sabrina, so Scully
and so on and so forth.
But for example, the scholars from up inside university
basically covered in a wide range of languages, including English,
German, Korean, Polish and the Spanish studies, interestingly enough,
because you can see all of them apart from Korean, are European languages.
But we also have the stronger
they did this nice addition that is also
Korean, because Sapienza basically has both
the European Department of European Studies, but
also the Department of Oriental Studies.
One another important partner
is the EU Screen Foundation.
And this is very important because
one of the issues that sometimes we may face when we are dealing
with the audiovisual material is the copyright issue.
Our partner is the EU Screen Foundation
that is a consortium of European broadcasters and individual archives,
and the foundation serves as a European aggregator
for television and audiovisual archives, featuring over 1 million
audiovisual clips in more than 35
different archives and 28
in 28 European countries.
This helps or provides access to a vast collection
of audiovisual clips in several languages,
which will be used or we can use
without fearing the issue of copyright and also the collaboration
between the EU Screen Foundation as LOVED aims
to further progress in experiment in the benefits
of visual translation in language learning within the academic context.
But one thing that we also want to emphasize is the fact that we want
to make sure that students also get to know about
this kind of archive so that contain
basically the history of European
audiovisual content.
What we want to say is that once the projects
and the functionalities of love will be tested,
it will be possible to make use of even more recent material.
As long as that 10% rule is abided by
and is an example in this sense
is offered by Fabio in the following slides.
So I'm going to give him the floor now and
I will
go back towards the end of this presentation.
Thank you, Fabio.
Thank you, Margarita, for leaving me to thoughts.
So this is our first pilot workshop.
And the idea behind
this is because I teach the first module
of second language acquisition to my students at Sapienza.
Margherita teaches the second module, so I teach how to teach
a literary language in in schools.
And Marguerita teaches how to teach a second language
through audio visual translation.
So we try to combine
the teaching of literary language and audiovisual translation.
So we chose this pilot workshop that is love in the Villa.
Loving the Villa is a Netflix movie
released on the 1st September 2022,
distributed by Netflix, directed by Mark Stephenson.
Stephen Johnson.
It is a very, very loose adaptation of Romeo Shakespeare's
Romeo and Juliet, but it is full of quotations from Romeo and Juliet.
And so this is the perfect case study for for what we wanted,
but what we want it to do, it stars Cat Graham
a.k.a Julie Hatton in the film who was very famous
because she played the role of Bonnie Bennett in The Vampire Diaries
and Tom Hopper, Charlie Fletcher, who played in the Umbrella Academy.
So the film tells the story of Julie,
who is a primary school teacher in America in Los Angeles.
Her dream is to go to Verona with her boyfriend, and at a certain point,
she believes that her boyfriend is going to propose in Verona,
but she invites her out for a dinner
and actually he dumps her.
So but she decides to go to Barrow now
where he where she meets Charlie.
They rented the same villa who is actually
which is actually an apartment in.
I don't know if you're familiar with the city of Verona
where the balcony of Juliet is, but I mean, the
this villa is an apartment in the same courtyard
where the balcony of Juliet is in Verona.
They rented the same apartment for the same week
because the owner of the apartment, I mean, made a mistake.
And so slowly they.
They start to. To to fall in love.
And in the end, they end up together.
Of course,
thanks to all these quotations from Romeo and Juliet,
the film is dubbed in 17 different languages,
but only three audio described versions are available.
One is in English, of course, the other is in neutral Spanish.
So the central Mexican accent with no colloquialisms
and one strangely enough, in Brazilian Portuguese.
So there is not.
And there is the dubbed and subtitled version in Italian, but not the old.
You described a version in Italian.
So this is one of our aims in in this pilot workshop.
So what scene have I decided
to take into to take into account this scene?
Because it's very short.
First of all, you're going to see it.
It is a fake quotation from Shakespeare.
You can recognize
the actual quotation, but it is in Shakespearean language.
So I'm going to show it to you.
You're finally going to Verona.
I wouldn't be surprised if Brendan popped the question why you're there.
It's like Shakespeare said,
if found us desire, thou must put thine ring upon it.
I think that's. Beyond the accent.
So as you can see, you're finally okay.
So it's like Shakespeare said,
if thou desire, thou must put vine ring upon it.
I think that's beyond, say, no fiancee.
Of course, this is Shakespeare in language, but I mean,
it is adapted to modern times.
And the quotation is actually from beyond, say,
from from from the famous song by Beyonce.
So how to make it into audiovisual audiovisual translation?
Of course, you have here a table
with the Spanish top version and Spanish subtitles.
It's quite, I mean,
literal sometimes you have the audio description,
you have the Italian dub version and the Italian subs here
just to I mean, like to see something.
You can read the Spanish version version, of course.
And even in Italian, the same expression is used.
I mean, to put the finger to put the ring on the finger
of someone means to I mean, to propose and to get engaged.
So of course, I don't think that Shakespeare wanted to
I mean, he didn't think about Beyoncé when he wrote
something about this, which is our double aim
in creating a lesson plan for for our students.
First of all, to
try to engage students in their L1, L2
and possibly L3 mental linguistic awareness.
I mean, just to tell them that they have to be aware
of diatonic varieties of English, in that case early modern English
and contemporary English, and to see if they can manage to
to translate them correctly or at least to, to,
to give the flavor of of ancient English
and to attract their interest towards L1
aid and accessibility, of course.
So first of all, what we thought in our
in our workshop is that all students must be familiar
with the basics of liberty and our main students are.
So this is an advantage we decided to follow least proactive
approach from 2018 divided a lesson plan not into the
well-known
three part
lesson plan, input, scaffolding and output,
but in four different phases just to focus more on the language.
And that's what we wanted.
So as you can see here from the slide, we decided that the input was
of course the original a v taxed, and that has to be provided
and students are encouraged to familiarize
with the different registers in in the in the in the scene
and different varieties
so that early modern English and contemporary English
according to estimates and noticing input hypothesis,
the first phase of the scaffolding
in this phase students take a number of decisions of course,
so it is worth maintaining the differences between literary language
and everyday gender.
Realistic English as more or less the Spanish version does. How?
By using obsolete and or refined words in their l one.
If you had to look at the Spanish version, I mean,
it works a lot by trying to reproduce stylistic features.
Typical of the source text.
And here contrastive analysis can be used.
I mean, if they know, for example, English and Spanish, they can make
a comparison between the two versions and try to
most of them, I mean, are
competent in English and Spanish in our university.
And so contrastive analysis may be useful at this stage.
And then going back to the literary source text is fundamental,
especially when it last or learner oriented editions are available
in the second scaffolding and in the second part
of the scaffolding phase of the guided practice.
They familiarize with different techniques to how can I say to
to tone down the literary language
and to see if it works the same.
And finally, in the autonomous properties,
the text is realized.
So they have to be aware of the different
diatonic varieties of English on the one hand, but also different
registers of the same of the same language.
So now I'm going to leave the floor again to Margarita
with those hand
go. Yes.
Fabio, can you hear me?
Yep, yep.
Sorry.
Can you see the slight?
Yes, I do. Okay.
I do see it.
Can you hear me? Yeah. Yep. Oh, yeah.
Thank you.
All right. Now, just to conclude,
as I said earlier on, basically our our
our project aims to cover all 18 modalities.
And as you might have noticed, the fabulous presentation girls,
not only with the idea of reproduce
scene, adopt subtitled
and subtitled texts, but also what could be done
with the description,
especially when an audio description
track is missing, like in the case of Italian.
So broadly speaking, this project
that managed to fetch €42,000
so hopefully enough fundings to cover
various modalities aims to
further prove the benefits of the visual translation in second
language acquisition by artists and students performance of via
in-class and online activities and through quality assessment.
And I must say that all the presentations that we attended
over the next day, over the last two
days, are going to to, to to
become a very important source of inspiration for our
the way we want to proceed and the important thing is,
as I mentioned earlier on, is the collaboration
between the sloughed in the EU Screen Foundation aims to raise awareness
about the very existence of this archives
and their contents among younger generations.
Because we have the feeling that, you know, a lot of this
heritage is being lost or being completely unknown to the young.
The young generations in different European countries.
Much of the many of the clips in these archives are, for example,
in black and white.
And students may be even wondering why the in the past
they didn't have colors, you know, color is love
also 6 to 6 to raise awareness regarding disability
and how accessibility can hard to break linguistic and sensory barriers.
Just to connect to what I said earlier on and to conclude,
we wanted to self-promote our future conference
that will take place in Rome in 2024 as part of this project.
And we really, really hope to see you all there.
And there will be a call for papers,
for presentations coming up, uh,
within the next few months.
So we really, really hope that, you know, this discussion
will continue and that all of you will be able to
continue working and present to your,
your projects in, in future in Rome, in the Eternal City.
Thank you very much.
Right.
Thank you.
I'm sorry that we are running out of time
and we started a little bit late, so, you know,
you kept your timing beautifully.
So it's more that, you know, we have a technical problem from the beginning
if there's a question, because then we have to go to the coffee break
and then this happens plenary.
So there's no questions online.
Okay.
Anybody has got a question?
Yeah.
I would like to thank you very much for the ideas.
And to be honest, I thank you very much for saying that,
you know, it was something that you wanted the younger
audience to know because that involves me,
that, you know, there's this
massive archive of videos and we are always
searching for something that is copyrighted free.
So, yes, I'm not that young, but I'm really glad to hear
and some will keep an eye on that.
And thank you very much for inviting us to Rome in 2024.
And some we probably a few of us will be there
because it's an esteemed topic and it was a great presentation.
So thank you very much.
Thank you very much.
Thank you.
I used to play with you children.
They get
stuck there with grandma.
Yes, there would be that would be older next year.
So, you know, you can just enjoy the conference. Yes.
Thank you. Thank you. Thank you.