Portfolio as an Indicator of Young Learners’ English Proficiency in Mainstream Language Instruction (EFL) and Bilingual Content Instruction (CLIL)

Tämä soveltavan kielitieteen ja kielitaidon arvioinnin toimintatutkimus tarkasteli kieliportfolion ominaisuuksia ja mahdollisuuksia nuorten oppijoiden englannin kielen arvioinnissa kahdessa eri oppimiskontekstissa: englanti oppiaineena (EFL) ja kaksikielinen sisällönopetus (CLIL). Tutkielman itsenäiset, kahteen eri englannin kielen rekisteriin (arkikieli ja akateeminen kieli) kohdistuneet portfoliokokeilut olivat erillisiä tapaustutkimuksia. Molemmat portfoliot perustuivat väljästi Eurooppalaiseen kielisalkkumalliin, ja ne olivat osa tutkielmantekijän luokkaopetusta ja -toimintaa. EFL -portfoliokokeilu 9-10-vuotiaille kolmasluokkalaisille toteutettiin marraskuun 2011 ja toukokuun 2012 välisenä aikana, kun CLIL -portfoliokokeilu n. 7-9-vuotiallle ensimmäisen ja toisen luokan oppilaille kesti kaksi lukuvuotta 2012–2014. Molemmissa kokeiluissa myös oppilaiden vanhemmat kuuluivat tutkimusjoukkoon, samoin CLIL -portfolion toteutuksessa avustaneet ja opettajanäkökulmaa edustaneet opettajaopiskelijat. Portfoliokokeilun aloitti myös kaksi muuta CLIL -opettajaa, mutta kumpikin kokeilu päättyi alkuvaiheeseensa. Tarkemman tarkastelun kohteina olivat tutkimuksen osallistujien kokemukset ja mielipiteet portfoliokokeiluista. Erityisesti tavoitteena oli selvittää, miten informatiivisena englannin kielitaidon indikaattorina kieliportfoliota pidettiin. Myös kehitysehdotuksia kerättiin. Trianguloitu aineisto koottiin sekä puolistrukturoiduin kyselyin että vapaaehtoisin teemahaastatteluin, jotka äänitettiin. EFL -aineisto koostui 18 oppilaskyselystä, 17 huoltajakyselystä ja 7 oppilashaastattelusta. CLIL -aineistoon sisältyi 19 oppilaskyselyä, 18 huoltajakyselyä, 7 oppilashaastattelua ja yksi opettajaopiskelijoiden (N=3) ryhmähaastattelu. Aineisto analysoitiin pääosin kvalitatiivisin menetelmin temaattisen sisältöanalyysin keinoin, mutta myös laskien frekvenssejä ja prosenttisosuuksia. Osallistujien mielipiteet ja kokemukset olivat hyvin samankaltaiset ja positiiviset kummassakin portfoliokokeilussa. Merkittävä enemmistö sekä oppilaista että huoltajista koki, että portfolion avulla on mahdollista osoittaa englannin kielitaitoa ja sen kehittymistä. Oppilaat kuvailivat portfoliotyötä hauskaksi ja kivaksi, ja heidän mielestään portfoliotehtävien pitäisi olla tarpeeksi haastavia, sisältää taiteellisia ja luovia elementtejä sekä kohdistua tuttuihin, mielenkiintoisiin aiheisiin. He totesivat, että portfolion avulla voi oppia lisää kieltä. Vanhempien mielestä portfolio kertoo koulun vieraiksi jääneistä oppisisällöistä, auttaa ymmärtämään lapsen ajatusmaailmaa ja motivaatiotasoa sekä paljastaa heidän kielitaidostaan uusia ulottuvuuksia. Opettajaopiskelijat havaitsivat, että portfolion avulla voi tutustua oppilaiden kieli- ja kulttuuritaustoihin sekä kartoittaa heidän kielellisiä tarpeitaan. Tämän tutkielman teoreettisen tarkastelun ja tulosten mukaan kieliportfolio tukee erinomaisesti uuden Perusopetuksen Opetussuunnitelman (NCC 2014) tavoitteita ja arvioinnin uudistuspyrkimyksiä sekä lainsäädännön arvioinnille asettamia edellytyksiä. Portfolio on erittäin suositeltava nuorten oppijoiden kielitaidon arviointimenetelmä perinteisten rinnalle.

A teoria da perspectiva e as mudanças de preferência no mainstream: um prospecto Lakatoseano

The theory of the perspective and the changes of preference in the mainstream: a Lakatosean prospect. For many decades over the 20th Century, the mainstream of economics adopted a normative and axiomatic theory of individual behavior in which maximizing procedures were carried out by rationally unbounded agents. This status has been challenged on many grounds and alternative views from fields like psychology have found a way into the core of economics research frontier. Prospect theory, developed by psychologists Daniel Kahneman and Amos Tversky since the 1970s, has provided a more empirical, inductive and descriptive theory of decision making. It has made significant inroads into mainstream microeconomics, shaking the habits of some of its practitioners. This paper first takes stock of its main developments and then uses a Lakatosian framework to draw out its negative and positive heuristics. In what follows, its heuristics are compared to those of traditional rational decision-making theories. The differences between them are highlighted, pointing to changes in the mainstream of the profession and to new opportunities for research.

A economia neoclássica: uma análise lakatosiana Da cheia do mainstream até sua implosão

RESUMOEste trabalho tem como objetivo definir, a partir de uma abordagem lakatosiana, o Programa de Pesquisa Científica (PPC) Neoclássico. Para tal fim, vou comparar este programa com aqueles oriundos da nova economia institucional (Coase e Williamson) e da nova economia da informação (Akerlof, Grossman e Stiglitz) e, usando a noção de implosão, vou destacar os seus limites. Depois de discutir o método de Lakatos e, baseando-se em sua abordagem, definirei o PPC neoclássico, e explicarei em que consiste a implosão do SRP neoclássico.

A espacialização da fala no cinema

O artigo parte de uma simples constatação: é bastante insatisfatória, no presente estágio da pesquisa, a colocação do problema das relações entre imagens e palavras no universo fílmico. Trata-se, no entanto, de uma questão decisiva para a estética do cinema. Em geral, as análises feitas valorizam apenas a função das imagens na gênese e no desenvolvimento das significações. A hipótese de trabalho que se apresenta aqui, vem propor, ao contrário, uma abordagem do complexo sígnico constituído pela fusão indissolúvel dos dois recursos expressivos, que forma assim um meio de comunicação específico, original e absolutamente novo. Esse caráter inédito exige uma investigação minuciosa e urgente, conjugando-se perspectivas filosóficas, semióticas e propriamente cinematográficas.

O cinema e a escola: formas imagéticas da violência

Este artigo pretende analisar as relações entre mito, violência e cinema. Queremos saber que suportes a narrativa fílmica oferece para que o público, ao ver um filme, possa criar e recriar sentidos, indo além dos valores reiterados pela estrutura fílmica. A escola seria um dos espaços para que a literatura, as artes em geral, e o cinema em particular, germinassem as possibilidades de alunos e professores transformarem-se em "sujeitos imaginantes", produtores e não apenas reprodutores de sentidos.

The encounter with the real and post-Soviet trauma : fantasy construction in Russian popular cinema /

This thesis examines the impact of the Soviet Union's collapse on the Russian Symbolic as represented through popular cinema of the post-Soviet period. The disintegration of the USSR in 1991 became one of the most traumatic experiences for many Russian people. The trauma of the collapse of the Soviet Union penetrated the everyday reality of the Russian Symbolic, leaving the traces-symptoms in different cultural fonns like literature, arts, television and cinema. Because popular culture usually reacts very quickly to any social, political and economical shifts in society, it is an excellent barometer for deeper changes in society. Focusing on postSoviet popular cinema, this thesis analyzes the symptoms of cultural and individual trauma occasioned by the momentous changes of the 1990's. This study is grounded in post-analytic theory of Jacques Lacan and its interpretation by Slavoj Zizek, which emphases the traumatic encounter with the Real as a "hard core" of our reality. According to this paradigm, a new chain of signifiers is structured around the traumatic breach in the Symbolic, initiating a process of fantasy construction to deal with consequences of trauma and, thus, to support our Symbolic order. This thesis examines three major fantasy constructions - drinking, traveling to a "happy land" and family reunion and money - in popular films by Alexander Rogozhkin, Yurij Mamin, Georgij Shengelia, Dmitrij Astrakhan, Valerij Todorovskij, Alexej Balabanov, Sergej Bodrov Jr. and Petr Buslov. According to Zizek, enjoyment underlies any fantasy constructions, and that is why after the intrusion of the Real every individual and culture should go through the process of fantasizing about some substitutes which can help to minimize the traumatic effect and which can lead to a partial enjoyment. By analyzing the fantasies about drinking, "happy land", reconstruction of the family bonds and money in Russian popular cinema since 1991, this thesis demonstrates how the traumatic engagement with the Real affected the everyday lives of Russian people, and how individuals tried to fill the gap, the lack, in the post-Soviet Symbolic and "return" the lost feeling of unity and plenitude.

Where's Albania? : staking out the politics of the real and reality in documentary cinema

This thesis, entitled, "Where's Albania? Staking Out the Politics of the Real and Reality in Documentary Cinema," charts the documentary tradition's path from its first incarnations, as filmed travelogue or ethnographic study, for example, right through to its development as a form acting as an objective observer, reflexive commentator, and finally, as a postmodern hybrid. This thesis begins by locating the documentary tradition's origins in realism. Foregrounding documentary cinema as a realist style is important in that it is a contention that spans this entire study. After working through the numerous modes of documentary as outlined by Bill Nichols, I suggest the documentary is often best understood as a hybrid form drawing on numerous modes and conventions. This argument permits my study to make a shift into postmodern theory, wherein I examine postmodernism's relationship to the documentary both as being influenced by it, but also as subsequently forcing documentary cinema to look back at itself and reevaluate the claims it has made in the past, and how postmodernism has drawn these claims to the surface of debate. My thesis concludes with a study of the mockumentary. This analysis confirms the link between postmodernism and documentary, but perhaps more importantly, this analysis investigates postmodemism's critique of the image and representation in general, two elements historically linked to documentary cinema's success as "truth teller."

A black-focused school : black Canadian youth and the mainstream curriculum

ABSTRACT When asked about the proposal for a black-focused school, black youth from the Greater Toronto Area (GTA) voiced their agreement with elements of the proposal, but resisted the idea of implementing the proposal by creating a separate school. Although media representations and Dei (1996, 2006) provide insight into what Torontonians' reactions are to the proposed blackfocused school there has been no such information documented on what black youth in the GTA think about the project. This is the first known study that attempts to fill that gap by providing a representation of black youths' voices obtained via focus groups. The study examines what black youth know and think about the proposal, and why they largely disagree with the blackfocused school proposal. While the findings of this study indicate that the participants saw many positive elements of the proposal, they did not support the implementation of a black-focused school as they saw the creation of a separate space for the school as a negative thing. The youth had trouble conceptualizing 'black-focused schooling' as an alternative approach to mainstream education, which had an impact on whether they choose to, or could, respond to questions that precisely related to the black-focused school project. The study concludes that the youth could not visualize what the school would look like and how it would operate because they draw on liberal racist discourses (e.g. colour-blindness, blaming the victim, and equal opportunity) when thinking about their educational experiences; however, there was a clear contradiction in the way the youths' voices reflected an awareness of the role of race in education experiences. It was evident when they talked about fear of stigmatization, but when using liberal discourses the youth discounted the role of race, and seemed not to be aware of its role in educational experiences. These findings pose important implications for educators, would-be educators, administrators, the TDSB and proponents of the black-focused school.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Book Review: Pirate Cinema

Book Review of 'Pirate Cinema' written by Cory Doctorow.

Le cyberpunk vernaculaire de l’Amérique latine : dystopies, virtualités et résistances

Héritière de la tradition fantastique borgésienne, imprégnée d’une réalité composée de mythes précolombiens et des résidus industriels de la modernité, et développée à l’ère de la mondialisation, du post-modernisme, des jeux vidéos, du cinéma numérique et d’animation, la tendance cyberpunk latino-américaine est cultivée du Mexique jusqu’en Argentine, en passant par Cuba et d’autres pays souvent méconnus dans le monde de la science-fiction comme le Paraguay et la Bolivie. Pressenti dans les œuvres de certains écrivains canoniques comme Ricardo Piglia, Carmen Boullosa ou Edmundo Paz-Soldán, le cyberpunk se manifeste avec force dans l’écriture de jeunes artistes interdisciplinaires et de collaborateurs assidus des fanzines. Cette adaptation du sous-genre dans un continent où la référence reste encore le réel merveilleux et le réalisme magique, malgré l’apport des générations plus récentes comme celle de « McOndo » ou celle du « Crack », essaie d’élaborer une série de réponses aux questions issues de la conjoncture historique et artistique dans laquelle nous vivons : comment situer l’identité latino-américaine dans la nouvelle cartographie culturelle mondiale à travers une littérature qui cherche à se renouveler par rapport au canon littéraire et à la marginalité de son propre genre? Quelles sont les stratégies d’assimilation et de résistance qu’adoptent des jeunes auteurs latino-américains devant le cyberpunk anglo-américain littéraire et cinématographique? Peut-on parler d’un impact esthétique et philosophique du cyberpunk sur la culture latino-américaine, perçue habituellement comme une consommatrice passive de ces produits culturels et non comme une productrice? Ce travail cherche à parcourir l’ensemble de ces questions à partir d’une réflexion sur les principaux dispositifs constitutifs du cyberpunk – la dystopie et la virtualité – dans les discours (post)identitaires en Amérique Latine. Représentation presque mimétique de l’espace socioculturel et historique latino-américain à travers la violence et la répression politique, militaire, ethnique ou sexuelle, la dystopie est un moyen d’articuler certaines figures spatiales aux mythes nationaux et à la politique identitaire dans le contexte de la mondialisation. Cette dernière réalité socioculturelle, ainsi que l’idéologie esthétique que véhicule celle-ci à travers le cyberpunk, crée un conflit avec ces discours identitaires nationaux, conflit qui est accentué ou dissous par la représentation de la réalité virtuelle. La réalité virtuelle, comprise ici comme la direction que le récit prend pour défaire ou consolider la figure dystopique, mène à réfléchir également sur les enjeux de la (post)identité. Penser à une (post)identité (en gardant bien à l’esprit cette parenthèse) à travers le cyberpunk signifie poser une question sur la résistance au passé identitaire des mythes nationaux, au présent de la mondialisation culturelle, et aux discours post-humanistes qui semblent marquer le futur. À l’appui de travaux sur la dystopie et la réalité virtuelle dans le cyberpunk anglo-américain, ainsi que des études culturelles latino-américaines, je parcourrai un corpus composé des romans écrits entre 1990 et 2005. Ce corpus comprendra La Primera Calle de la Soledad (1993) de Gerardo Horacio Porcayo, Santa Clara Poltergeist (1991) de Fausto Fawcett, Ygdrasil (2005) de Jorge Baradit, et les films argentins No muera sin decirme adónde vas (1992) d’Eliseo Subiela et La sonámbula (1998) de Fernando Spiner. Dans ces oeuvres, la dystopie se configure aux possibilités narratives de la virtualité et traverse des thématiques identitaires comme les mythes sexuels et nationaux, la mémoire et le traumatisme ainsi que les projets utopiques des minorités.

The ambivalent identity of Wong Kar-wai's cinema

Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.

Identidty, displacement and embodiment in women's independent cinema

Ma thèse examine les déplacements multiples – déportation, exil, voyage – et l‟expérience diasporique de différentes communautés ethniques dans le cinéma indépendant de trois réalisatrices et artistes contemporaines : Julie Dash, Rea Tajiri et Trinh T. Minh-ha. J‟analyse la déconstruction et reconstruction de l‟identité à travers le voyage et autres déplacements physiques ainsi que les moyens d‟expression et stratégies cinématographiques utilisées par ces artistes pour articuler des configurations identitaires mouvantes. Je propose de nouvelles lectures de la position des femmes dans des milieux culturels différents en considérant la danse comme une métaphore de la reconfiguration de l‟identité féminine qui se différencie et s‟émancipe des traditions culturelles classiques. Les expériences de l‟histoire et de la mémoire, qui sont vécues dans les corps des femmes, sont aussi exprimées par le biais des relations intermédiales entre la photographie, la vidéo et le film qui proposent des images de femmes variées et complexes.

Whither RDS? An investigation of respondent driven sampling as a method of recruiting mainstream marijuana users.

Background: An important challenge in conducting social research of specific relevance to harm reduction programs is locating hidden populations of consumers of substances like cannabis who typically report few adverse or unwanted consequences of their use. Much of the deviant, pathologized perception of drug users is historically derived from, and empirically supported, by a research emphasis on gaining ready access to users in drug treatment or in prison populations with higher incidence of problems of dependence and misuse. Because they are less visible, responsible recreational users of illicit drugs have been more difficult to study. Methods: This article investigates Respondent Driven Sampling (RDS) as a method of recruiting experienced marijuana users representative of users in the general population. Based on sampling conducted in a multi-city study (Halifax, Montreal, Toronto, and Vancouver), and compared to samples gathered using other research methods, we assess the strengths and weaknesses of RDS recruitment as a means of gaining access to illicit substance users who experience few harmful consequences of their use. Demographic characteristics of the sample in Toronto are compared with those of users in a recent household survey and a pilot study of Toronto where the latter utilized nonrandom self-selection of respondents. Results: A modified approach to RDS was necessary to attain the target sample size in all four cities (i.e., 40 'users' from each site). The final sample in Toronto was largely similar, however, to marijuana users in a random household survey that was carried out in the same city. Whereas well-educated, married, whites and females in the survey were all somewhat overrepresented, the two samples, overall, were more alike than different with respect to economic status and employment. Furthermore, comparison with a self-selected sample suggests that (even modified) RDS recruitment is a cost-effective way of gathering respondents who are more representative of users in the general population than nonrandom methods of recruitment ordinarily produce. Conclusions: Research on marijuana use, and other forms of drug use hidden in the general population of adults, is important for informing and extending harm reduction beyond its current emphasis on 'at-risk' populations. Expanding harm reduction in a normalizing context, through innovative research on users often overlooked, further challenges assumptions about reducing harm through prohibition of drug use and urges consideration of alternative policies such as decriminalization and legal regulation.