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Correcting and modelling pronunciation through multimodal resources in speech-language therapy.
No full textDifficulties in articulating speech sounds are recurrent in people with a speech and language impairment such as aphasia. Some tasks performed during the speech-language therapy are devoted to the treatment of these difficulties. My paper analyzes the way the speech-language therapist instructs the aphasic patient about the pronunciation of linguistic items and models pronunciation through auditory, visual and tactile resources, thus configuring it as a multimodal and multi-sensory experience.
The research is grounded in Multimodal Conversation Analysis (Goodwin, 2000; Mondada, 2016) and is based on the transcription and the analysis of excerpts issued of a large corpus of video-recordings (60 hours) that were made in France and in the French-speaking part of Switzerland. Data was collected in different therapeutic settings (hospital, rehabilitation clinic, private speech-therapy office) along the recovery of people who developed aphasia as a consequence of a stroke.
The analysis of the data shows that the correction of the patients’ productions is initiated by the therapists verbally, through repetition of the target item with prosodic features such as emphasis and volume. When these forms of cues reveal ineffective, the therapists make relevant other types of visual and haptic cues: by using their body as an “instructional tool”, they represent, with gestures and face expressions, features of the target sound. They can also touch and manipulate the patients’ face in order to help them to correctly realize specific articulatory movements.
The paper focuses not only on the multimodal resources used by the therapists in order to model pronunciation, but also on the practices used in order to enhance the patients’ visual attention towards these resources (e.g. use of pointing gestures, directives, verbal and haptic summons) (cf. Ronkainen, 2011). It offers an investigation on how multimodal therapies (whose efficacy is often claimed in aphasia literature, see Pierce et al. 2019) are concretely implemented in face-to-face interaction. Finally, a vision of the therapeutic process as an embodied, multimodal and multi-sensory experience is proposed and discussed.
References
Goodwin, C. (2000). Action and embodiment within situated human interaction. Journal of Pragmatics, 32(10), 1489-1522.
Mondada, L. (2016). Challenges of multimodality: Language and the body in social interaction. Journal of Sociolinguistics, 20(3), 336-366.
Pierce, J. E., O'Halloran, R., Togher, L., & Rose, M. L. (2019). What Is Meant by “Multimodal Therapy” for Aphasia? American Journal of Speech-Language Pathology, 28(2), 706-716.
Ronkainen, R. J. (2011). Enhancing listening and imitation skills in children with cochlear implants-the use of multimodal resources in speech therapy. Journal of Interactional Research in Communication Disorders, 2(2), 245-269
Séquences de traduction spontanée et phénomènes de contact de langues
No full textDans cette contribution, nous nous intéressons à des séquences de traduction spontanée qui se produisent au sein d’interactions plurilingues de type professionnel. Bien que dans ces contextes les locuteurs interagissent généralement en anglais lingua franca, il arrive souvent que, au fil de l’interaction, d’autres langues soient rendues disponibles : des alternances codiques sont en effet produites de manière marquée, suivies par la production du même contenu dans la langue de l’interaction et accompagnées par des commentaires métadiscursifs qui montrent un travail de comparaison effectué par les participants entre la langue de l’interaction et d’autres langues qui composent le répertoire plurilingue sous-jacent. Nous proposons de traiter ces moments, voire ce type particulier d’alternances codiques que sont les traductions spontanées, comme lieu d’observation de la manière dont les locuteurs s’orientent vers le contact de langues, catégorisent les ressources linguistiques et les langues de l’interaction (cf. Mondada, 2000) et évoquent la différence linguistique à toutes fins pratiques. Comme il a été montré dans la littérature, la traduction spontanée ou naturelle (Harris, 1977) peut concerner des applications locales et occasionnelles (cf. le continuum de Müller, 1989) qui sont finalisées non seulement à la gestion de la différence linguistique, mais aussi à la réalisation d’autres finalités pratiques (v. De Stefani et al., 2000 ; Margutti, 2007 ; Greer, 2008). Les séquences de traduction que nous examinons ici peuvent concerner des recherches lexicales mais aussi des productions du locuteur qui tracent des liens conceptuels et lexicaux à travers les langues : ces liens s’établissent non seulement par la production d’un mot dans une autre langue, explicitement catégorisé en tant que tel, mais aussi par la production progressive d’une traduction qui « calque » la forme « de départ » et introduit une relation de proximité entre les langues et les formes en question. Dans d’autres cas, au contraire, les locuteurs peuvent faire appel à une absence d’équivalences entre langues et invoquer la nature « intraduisible » de certains items. En adoptant une perspective praxéologique et conversationnelle sur les phénomènes de contact (cf. Auer, 1984 ; Lüdi, 1987; De Pietro, 1988 ; Firth, 1990 ; Gardner et Wagner, 2004 ; Mondada, 2004 ; Auer et Wei, 2007), nous contribuons à une vision émique de ces phénomènes et nous rendons compte des processus de co-construction de la différence linguistique telle qu’elle émerge dans les pratiques des locuteurs au sein de ces séquences de traduction. L’analyse s’appuie sur nombreuses heures d’enregistrements audio et vidéo de réunions de travail ayant lieu dans différents contextes internationaux
Constructing different participation frameworks through multiple resources when ‘doing’ music together: the embodied organization of Choral rehearsals
No full textThis paper analyses the interactional dynamics of a specific music setting, that is the rehearsals of the Chorus of
a French Opera. In the very last years, some studies, issued of a pragmatic and interactional perspective, have
focused on musical contexts as a perspicuous setting for observing the fine-grained verbal, bodily and musical
coordination established by participants when ‘doing’ music together. Taking into consideration the multimodal
dimension of human conduct, these studies have looked, for instance, at the way musicians ‘improvise’ together
(for example in jazz classes, cf. Duranti & Burrell, 2004; Ashley, 2005; Veronesi, 2009) or at how conductor’s
gestures (that is body orientation, gaze and gestures, cf. Poggi, 2002; Streeck & Oshima, 2005; Haviland, 2007;
Parton & Edwards, 2009, i.e. in classic ensembles) are systematically and responsively oriented to by musicians
and integrated in theirs actions. Following this line of research, and inspired by a Conversation Analytic
perspective, this paper focuses on the context of choral music: here an extended group of musicians, using a
specific instrument, their voice, make music together following the notation’s ‘established’ course of action and
the conductor’s moment-by-moment ‘instructions’. In the case being studied, a specific participatory
constellation is established, as far as the ‘ordinary’ conductor (that is the official conductor of the French
Chorus) is accompanied by the ‘official’ (and external, British) music conductor of the Opera being rehearsed: as
a matter of fact, as often happens for international and popular Opera representations by permanent Chorus,
musicians can daily rehearse with their conductor and then occasionally – just before the official representation –
meet with the Opera general conductor. The analysis will focus on the way this peculiar (at least) triangular
‘framework’ (represented by the two directors and the group of musicians) is handled and on how participants,
through multiple resources, organize their musical action(s), orienting towards a common activity or manifold
activities and structuring dynamic and evolving participation frameworks (Goodwin, 1981; 2000; Goodwin &
Goodwin, 2004). During the rehearsals, different types of sequences can in fact emerge and accompany the
musical production (for ex. instructions or evaluation sequences, addressed to some or all the musicians;
clarifications sequences exchanged between the conductors themselves) making relevant different – and often
simultaneous – courses of action as well as local dynamic constellations. The research will take into account
both the audible and visible resources exploited by participants, focusing in particular on specific verbal conduct
(with two languages being used – French and English) and on the manipulation of objects (especially with the
‘notation’ constantly handled by participants and evoked by the director as an interactive resource to structure
the activity itself). The data analysed are represented by three hours of audio and video-recordings and their
related transcriptions
Emozioni e Modalità Aptica: l’Uso del Tocco nella Gestione delle Emozioni del Paziente Afasico
No full textThis paper analyzes the role of haptic resources such as interpersonal touch in the management of patients’ emotions during speech therapy sessions devoted to the treatment of aphasia in the hospital setting. Patients diagnosed with aphasia may manifest emotional states of distress, such as anger, sadness, frustration, which can also evolve into crying sequences. The study, inspired by Conversation Analysis, analyzes how the therapist responds to these manifestations of emotional states, particularly through professional touch, which enables the therapist to control the patient, comfort him or her, and more generally, regulate and balance his or her emotional displays. By focusing on episodes of touch and the collaborative definition by speech therapist and patient of specific bodily and haptic configurations that allow for the establishment of forms of intimacy and affection, the article contributes to a multimodal view of emotions and on a multisensorial perspective on communication
Corrective demonstrations and embodied resources for modeling speech sounds in aphasia speech-language therapy
No full textThis paper analyzes the way speech-language therapists instruct and correct aphasic speakers regarding the pronunciation of linguistic items and model pronunciation through auditory, verbal, visual, and tactile resources, thus configuring it as an embodied, multi- sensory experience. The data analysis shows that correction of a patient's productions is first initiated by therapists audibly, through repetition of the target item with specific prosodic features, such as loudness and length. When this type of cue proves to be inef- fective, therapists perform instructions and corrective demonstrations through visual and haptic cues: By using their body as an “instructional tool,” they represent, with gestures and facial expressions, features of the target sound. They can also touch a patient's face to help them to correctly realize specific articulatory movements. This paper focuses on the hierarchy of embodied resources that are mobilized by therapists, in an ordered and in- cremental way, to model pronunciation. Moreover, it highlights the methods used to enhance patients' visual attention toward embodied resources and solve issues of bodily coordination. More broadly, this paper highlights the complex embodied nature of speaking and, by focusing on a pathological situation and a therapeutic setting, shows what participants treat as relevant for producing speech sounds in interaction
Unità linguistiche, unità di traduzione, in un sistema particolare di presa del turno. Il contributo della linguistica interazionale.
No full textIn this contribution, we analyze the specific turn-taking system of translation activity and we propose a praxeological and emic approach to translation units, which traditionally are defined in terms of equivalence between target and source languages. To this end, video-recorded and transcribed excerpts of interaction will be analyzed in their linguistic and multimodal components. Data are drawn from a large corpus of multilingual interactions, in which translation activity is performed by professional interpreters and by bilingual speakers. The theoretical and methodological approach underpinning the study is that of interactional linguistics, a field of research that developed in the 1990s from Conversation Analysis and from an interest for the study of language and grammatical structures in their locus of occurrence – interaction – and with reference to interactional purposes and uses (such as turn-taking)
Coordination, visual attention, and professional gestures in the treatment of aphasia
No full textIn this contribution, we focus on interactions between aphasic patients and speech-language therapists during speech-language therapy sessions. By emphasizing the interactive and multimodal nature of therapeutic activities, our study examines phenomena of coordination and of establishment and negotiation of visual attention. The analysis focuses on a series of moments when the therapist solicits the patient’s gaze through the use of several resources, including gaze directives. These solicitations make it possible to guide visual attention toward certain elements of the context, and to negotiate participatory configurations in order to take advantage of the forms of scaffolding offered by the therapist and to accomplish tasks collaboratively. We highlight the importance of the professional gestures and bodily resources employed by the therapist, and analyze the method by which the patient is “instructed” to perceive these resources. Pertaining to several aspects of Goodwin’s work, our contribution highlights interactive and socially organized practices through which the therapeutic institution for the treatment of aphasia takes shape
Negotiating the Transition to the Translator's Turn: the sequential and multimodal organisation of oral translation
No full textMy thesis focuses on the activity of non-professional interpreting realised in multilingual institutional contexts by bilingual speakers who perform it spontaneously and in an ad-hoc way ("natural translation", Harris, 1977; Müller, 1989). Adopting a Conversation Analytical (CA) framework, I focus on turn-taking and on the mechanisms and resources by which participants coordinate their talk during the activity of oral translation. Research focusing on interpreting inspired by interactional approaches (see "dialogue interpreting", Wadensjö, 1998; Mason, 1999; Bolden, 2000; Davidson, 2000; Gavioli, 2009; Baraldi & Gavioli, 2012) has highlighted that face-to-face interaction mediated by an interpreter constitutes a specific speech exchange system and that the presence of an interpreter modifies the participatory configuration of the encounter and the sequential order of talk. These studies focus especially on the distribution of turns (the "turn-allocational" component) and less (but see e.g. Apfelbaum, 2004) on the way these turns are formatted from a syntactic, prosodic, semantic, pragmatic and multimodal point of view (the "turn-constructional" component), i.e. how they project and make recognizable a place where transfer of speakership is relevant and possible (Sacks et al., 1974; Couper-Kuhlen & Selting, 1996; Ford et al., 1996; Auer, 2002; Mondada, 2007). Indeed, once a consecutive translatory mode is established (once participants decide to translate "every turn" at talk) participants are faced with the practical problem of defining what this "turn" consists of: At which moment should the interpreter take the turn to translate? How can a unit of translation be defined? How do participants coordinate their talk and suspend the ongoing activity for inserting the translation? Which (verbal and non-verbal) resources are relevant for making this coordination possible? My study proposes a detailed analysis of the way participants negotiate transfer of speakership and perform transition to translation. The analyses have been conducted on a corpus (25 hours) of video-recordings of a 5-days international meeting during which different activities (conferences, big groups encounters, collective discussions) are supported by oral translation. Following a CA perspective, "collections" of similar phenomena have been established on the basis of fine-grained transcriptions. My research contributes to the existing literature on interpreting, sustaining, in particular, the collaborative and interactive nature of the translating activity. Moreover, even if focused on non-professional interpreting, my study highlights two main issues that could be relevant for professional interpreting. First, the central role played by multimodal resources: transition to translation is generally preceded by visual adjustments of the participants who, through their conduct (gaze, gestures, posture, walk), not only make intelligible what they are doing (and thus the "translatability" of what they are saying and doing), but also project and negotiate transfer of speakership. This suggests adopting an embodied and praxeological view of translation (vs a "logocentric" perspective). Second, the research shows that the units of translation are collaboratively and interactively negotiated (vs "fixed" units) and are not only the result of the interpreter's "decisions": on the contrary, the speaker being translated plays a central role in the definition of these units and, as a consequence, in the type and the quality of translation realised by the interpreter. The thesis finally discusses some possible implications of these analytical issues for interpreters' formation
Ai margini e ai confini della lingua "normata": Trascrizione, categorizzazione e analisi del parlato afasico
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