Showing posts with label mistakes. Show all posts
Showing posts with label mistakes. Show all posts

13.Correction


  • What is an error?
Errors are of two types:
  1. forms that are not acceptable according to the rules (syntactic, phonological, lexical) of the target language.
  2. forms that are themselves acceptable but which are used in a way that is unacceptable (e.g. errors of style).
  • It is worth making a distinction between errors/slips/lapses. Slips of the tongue are often spontaneously corrected by the speaker; lapses caused by tiredness, or inattention can also be corrected by the speaker if attention is drawn to them.
  • It has now become clear that many of the errors of a second/foreign language-learner are developmental: that is, they are a natural part of the learning process, in the same way that the incorrect utterances of a child learning its native language are seen as natural part of its linguistic development.
  • What causes errors?
There are four main causes of error. Two of these are inevitable; the other two are to some degree avoidable.
  1. errors as indicators of the present state of knowledge: teacher should be prepared to accept these errors for what they are, and not as evidence of a poor memory or unsuccessful teaching.
  2. Errors as a result of overgeneralization or false analogy on the basis of too little linguistic evidence. If language-learning proceeds in a sequence (Data>Hypothesis 1> More Data> Feedback> Hypothesis2> More Data> etc.) then correction can function positively, to assist learning.
  3. Errors as a result of negative transfer (interference) from the learner’s mother tongue. Correction is not always effective in this case.
  4. Errors as a result of wrong hypothesis caused by poor teaching. Here correction is a poor substitute for re-teaching.
  • Are most frequent also most serious errors?
Grammatical errors (prepositions, word order, selectional restrictions after a particular verb, etc.), although extremely resistant to change, interfere with communication to a relatively small extent. Phonological errors are a much more serious problem since they are a potential source of irritation to native speakers, while lexical errors can lead to a complete breakdown in communication.
  • Teachers must make decisions about what, when, and how to correct and make remedial intervention.
WHAT we correct will depend partly on whether we consider correction will serve any purpose, and partly on what we consider important during a particular activity.
WHEN goes both for the teacher and the student(s) who is/are expected to correct himself/each other. Don’t mix up fluency activities with accuracy activities, when correction is important.
NB: Teachers must find ways of encouraging students to monitor and correct, when appropriate, both their own production and (in a spirit of helpfulness) that of their fellow-learners.

  • CLASSROOM OBSERVATION: ERROR CORRECTION
  1. Note the type of mistakes – e.g. Pronunciation, grammar, vocabulary
  2. How was the correction achieved? – e.g. Student guided to self-correction, student to student correction or teacher to student correction.
  3. Note when the teacher corrected, e.g. on the spot or delayed…
  4. Did the teacher anticipate any mistakes? E.g. pronunciation/grammar?
  5. Did the teacher hear mistakes?
  6. Did the teacher correct too much or too little?
  7. Was the teacher right in their correction?
  8. Did the teacher jot down mistakes?
  9. Comment on the overall success of the correction taking place.
  • Reflection as Exercise
  1. There are different schools of thought on how or even whether to correct during a fluency or communicative activity. Where do you stand, with those advocating the necessity of correction or those disfavouring correction altogether?
  2. When should correction be more persistent: at lower levels or high levels, according to you?
  3. Mario Rinvolucri advocates ‘hot correction’ (slip of paper with the correction on it, immediately handed in to the student) in group work. Would you consider the method disruptive or decently protective to the student?
  4. Do you consider recording the activity, using video or sound tape, and playing it back to the students a valuable source of working on the language?
  5. It is said that the greatest irritants to native speakers are not grammar or morphology errors (the first obsession of classical Error Analysis), but what Thomson (1983) called ‘pragmatic failures’, which mainly occur due to native language transfers. Provide at least one example.
  6. It is well known the native speakers’ tolerance towards errors. How do you explain that there is always a tendency for deprecatory assessment with the non-native foreign language teacher?
  7. Chomsky (1981) refers to feedback given to infants acquiring the NL as positive v. negative ‘evidence’. What was he referring to more exactly?
  8. The idea that learners produce forms which, even if corrected, are not quite what the native would say is developed by Levenston (1978). He shows that an EA that limits itself to reconstruction, i.e. on putting the grammar right, is flawed: what is left will still display lexical inadequacy, syntactic blends, conceptual confusion and rhetorical ineptitude. We could say that what learners write may well be discourse ‘in English’ but still falls short of being ‘English discourse’. Thus the attention, nowadays, has shifted from clear-cut error to the vaguer notion of infelicity. So, where do you stand among learners/teachers: those who perform correctly but ‘infelicitously’ or those who have the feeling of the language?

7.Teaching Pronunciation


Aims: (1) to encode and decode messages correctly.
(2) to give variety, life to repetition.
  • Knowledge about Pronunciation
  1. Sciences dealing with Pronunciation
    1. Basic elements of Pronunciation
      1. word stress: variable: main/secondary/unstressed
      2. sounds: how sounds are formed: E. Sound System vs. Sound System
      3. phonemic alphabet
      4. word linking
      5. sentence stress/ voice range/ intonation patterns
        1. two basic intonation tunes: fall/rise
        2. functions of intonation: accentual/syntactic/attitudinal.
      6. fluency
        1. static elements in Pronunciation: sounds/word-stress/word-linking
        2. expressive forms: sentence-stress/voice range/intonation pattern
    1. R.P. (received pronunciation)
    2. Tone patterns/ groups.
      1. three tones: falling./rising/fall-rise

  • Knowledge of ELT
  1. Ways of preventing Pronunciation mistakes
.1 drilling exercises for Recognition
    1. drilling exercises for Production
    2. Correct students’ mistakes!
    3. Expose students to authentic language!

  1. Problems with English Pronunciation
    1. Consonant Clusters: sounds disappear or change
    2. Vowel clusters
    3. Homophones

  • CLASSROOM OBSERVATION: PHONOLOGY

1. List the major non-native features of pronunciation that you hear:
1.1 Note who makes the major non-natives features of pronunciation: all students; some; a few.
1.2 Listen to one student and see if he/she consistently makes the same errors.
2. Can you identify a pattern of/rationale for correction of non-native pronunciation?
3. List the correction methods the teacher uses.
4. What is the source of language produced in the classroom: teacher %; student %; other %.
5. Is the language produced (by teachers, students, other)”naturally” produced (eg. vis-à-vis weak forms, elision, rhythm, speed, etc.)?
6. Can you identify any listening comprehension problems that relate to phonological features (e.g. weak forms)? How does the teacher resolve any problems?

  • Reflection as Exercise:
  1. Pronunciation skills overlap with rhetorical skills (posture, loudness, pace, eye contact, compensation strategies, and use of feedback). How much practice is given to the latter ones in the English class? Reminiscence your own learning experience.
  2. It is considered that many apparent pronunciation problems, e.g. in stress and intonation, are really processing problems created by artificial or too difficult tasks. Agree or disagree in well-articulated discourse.
  3. Phonological awareness (especially of weak forms etc.) is important for listening as well as speaking. Think of ways to efficiently train students in this strategy.
  4. Approve or disapprove of the idea that intonation is always a matter of tendencies not rules.
  5. Add to the list of compensation strategies: rephrasing; repetition and redundancy; slower/louder speech; spelling out; miming; use of visuals; (translation); checking with listeners;……… .
  6. The following correction/feedback features are in-built dimensions of the language class learning/teaching activities: positive (what to do) not error-based; built into task design; from other learners, not just from teacher; global before detailed. Think back of your learning experience and tick off those features you are most accustomed with.
  7. What should be the criteria for text choice for teaching/learning materials to be used when teaching pronunciation?
  8. Below is a dialogue without punctuation. Decide upon two possible scenarios:
  • What is the situation?
  • Who are the people?
  • How do they feel? What is their attitude?
  • How will they speak?
Practise speaking the dialogue with different stress and intonation patterns for the two situations.
A Where were you last night
B Why
A Well I rang at ten o’clock and you weren’t in
B No I went to the cinema.
A Oh really Who with
B Just an old friend from university
A Oh
  1. Consider this piece of writing:
I’ve live derl ife that’s full
I’ve travel dee chan devery byway
But morm uch more than this
I’d idit my way.
What helped you make sense of it; if any?
  1. Along with theatre techniques to spur creative language learning, jazz chanting represents an instance of spontaneous communication which appeals to students’ emotional and imaginative potentials, Here is an example of a jazz chanting based on Q&A pattern:
How do you like your coffee?
Black! Black!
How do you like your tea?
With lemon, please.
How do you like your steak?
Medium rare.
How do you like your eggs?
I don’t care!
Sunny-side up?
I don’t care!
Poached on toast?
I don’t care!
Over-easy?
I don’t care
Soft-boiled? Hard-boiled?!
I don’t care!
How about an omelet?
I don’t care!
Come on, tell me!
This isn’t fair.
I told you the truth.
I really don’t care! (Major Decisions)
What are the advantages of using such jazz chanting in the language class?