分类: 卡通英语教程 |
节选自我写作的卡通英语教程,但章节未定
章节未定 利用卡通英语培养良好的语音语调
一般来说,长期坚持看听模仿卡通英语的方式,相对于传统的应试教育而言,会形成相对良好的语音语调。通过大量观察,总结和实验,我个人觉得,初步摸出点门道。同时,也感受到了学员语音水平的明显提高。下面的经验,已经经过实践验证,会有助于利用卡通英语培养良好的语音语调。
从我个人的思考来看,提出以下几个和语音养成有关的原理
一
1 【原理一】 听为基础,充分熟悉语音的基础上再去说。
这个首先体现在人类在说母语之前,实际经过了静默期,此期间,基本只听不说,会高度熟悉母语的语音语调。而非上来就说。
经过长期的,静默期的孩子,其基础的语音辨别和发音能力就会良好,这很重要,因为语音一旦定型,不是那么容易改。所谓乡音无改鬓毛衰。上美剧易,改语音难。
其次,在卡通英语学习上,要坚持多听少背,听熟悉了再去配音或背诵。以后面于淼的例子来说,听到15天以上,听的烂熟,高度熟悉了语音,然后再去跟读背诵。
2 【原理二】关注语音细节,书法原则
这个有点类似书法,一人写再多的字,如果不能认真写好几个字,那么也无益于书法水平的提高。真正要练好书法,不用写那么多字。写好几十个字,就可以。同样,真正要搞好语音,也要专注于声音的细节,精确模仿。你背得再多,如果不能专注于声音细节,也是无济于事。
还有一点和书法类似的是,儿童期练就的是铁底,童子功,今后一般不容易走形。大了再练,当时可以,后面停止锻炼,还容易反弹回去。
实践当中,我发现很多来自大粽子的学员,语音非常好。有些达到特别好的程度。几乎可以说,我这里语音顶尖的,来自大粽子的学员居多。后来我就想明白了这个道理,大粽子虽然不搞窄输入,但是他就在那里让小孩反复的跟读,虽然枯燥,但却是聚焦了语音,专门的模仿语音。
同样的跟读战术,还有李阳的疯狂英语。我想也是这个道理。
跟读,模仿,并不稀奇。就算考拉小巫,古大白话,也是一样通过模仿来练发音。考拉小巫一句话练到吐。后来在五道口她和美国人见面,能说出美剧中那种相同速度的快速流利的英语。很多人否定大粽子,但是我想他的跟读实验,对语音语调很有帮助。
3 【原理三】 高代入感,心理认同
Krashen指出:社会语言学家们告诉我们,语言有两个功能:用来沟通和用来标识我们属于某一个社会群体。在标示我们是属于某一个社会群体中起主要作用的语言部分,就是口音。口音和沟通几乎没什么关系;我们可以用习得的另外的语言沟通的很好,只是一些声音系统而已。口音告诉听众你是谁,你从哪里来,有些情况下表明你的社会等级,在另一些情况下表明你的价值观。当我们和社会群体中的其他成员保持一致时候,我们采用他们的方式。
以我的儿子为例,每个到寒暑假,他就到辽宁和他最喜欢的朋友混在一起,几天之后,满口地道的辽东口音。回来不久后,这种口音就会消失。
以我为例,我到北京有20年了,但是我一句北京话也不会说,总觉得说北京话会起鸡皮疙瘩。虽然我也有北京户口,虽然过了20年,但我内心深处,无法想象我说北京话会是啥样。
按Krashen看法,这就是输出阻抗(如同输入阻抗),同时Krash也认为这是成人面对的最大问题。稍后我会把我翻译的这篇有趣的文章的中英文附在后面。
4【原理四】口音定型后不容易改 所谓乡音无改鬓毛衰
一旦以不正确的方式启蒙,使口音定型,一般不容易改,即便改,也不彻底。即便是正音,也是极为不易,效果往往极为不理想。上美剧容易,改口音难。
按本文所附的Krashen的看法来说:“尽管有各种可用的口音改善课程,但并无证据表明二语的口音可以通过直接教学而被永久的改善。”
5 【原理五】心急吃不了热豆腐
对语音问题,我想还得放松心态,猪八戒吞人参果,那么品不出什么味道。我们应在高度熟悉语音的基础上,耐心的品味发音。
所以,先要精心,才能细细的品味。
二
在母语条件下,一般无需成立说话培训班。都会说话,这说明,语音在母语环境下会发生自然习得。
在非母语的环境下,语音也可以发生习得。但同样也要符合入迷习得。仅仅一般的低热或兴趣不行。这个方面的案例,可以参考后面的Yolanda, 我觉得她就发生了语音方面的习得。
刚开始语音也不算特别好,后来就慢慢的流利标准起来,就是入迷索非亚,大量说,无所顾忌。但是对声音的听的太熟悉,印象太深刻,并没有发生石化或变差,反而越变越好。
这种条件下,也不用什么什么这个原理那个原理。不用去顾忌。这种条件下,卡通的声音细节,已经被痴迷的学习者所高度熟悉,那就像自己的亲人。天然就会学的像。
多数情况下,一般的孩子,是无法达到这个境界。
所以针对语音要求一般的学习者(对语音要求极高的,有特殊要求的,这个流程不见得有利),我建议如下的流程:
三 对一般学习者建议的标准流程
(一)
静默期的作用,就是多听,少说。目的就是熟悉语音。尤其是有些小孩,从很小就听英语语音,那么就非常有利于语音的发展。
对于我的学员来说,我也不没有要求学员半年啥也不说,光听。这就好比说,儿童到美国去,参加学习,会不会当半年哑巴?不会,学会啥,就说啥,可能一周后就磕磕巴巴的就说了。但这种条件下,仍是建筑在大量听的基础上,成天浸泡在声音的环境中,同时也是高代入感的,一样可以习得纯正口音。
但相比之下,如有可能,还是要有个静默期为好。
(二)
在张口之前,我们对语音越熟悉越好。
极端的例子,网上我了解有的孩子单集能听到100-200次。(当然家长都说孩子比较快乐,迷恋。)这样听到脱口而出当然好。那效果肯定好。
但实际执行中,我们也不用那么极端,对于语音要求一般的家长,可参考后面于淼,Yolanda流程,我觉得可以多集滚动(单集太枯燥),听到15天以上,也就差不多高度熟悉了。
同时在窄输入的条件下,有上百集,乃至200集的卡通,这几个配音演员你还要熟悉几个月。所以也会高度熟悉其语音。
(三)
在海量听,高度熟悉语音的基础上,可以采用跟读,配音,过单词的方法。
1 跟读学鸟叫
跟读就是一句一句的学习模仿,如同大陆字幕组听力第一人考拉小巫所言:学鸟叫
以下节选自卡拉小巫:
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第三遍是最痛苦的,也是最能升华的一个阶段。
我在做第三遍的时候,是听力口语一起来的,其实这两个本来就是分不开的,口语,要求自己强力模仿!!!!!注意这个词哦~~~不是吃干饭的,充分利用了A-B健,一个句子重复放,跟着读,然后跟着说,最后脱口而出,一点也不比他们差,甚至可以在语气,语调上,和他们一模一样。作这一部分的时候,我犯了一个错误,就是跟着读剧本,这是十分错误的,正确的做法是,像学鸟叫一样,学他们的声音,不要把自己原来读英文的习惯带到里面去,剧本只是告诉你他们再说什么内容,只是一个提示的作用,因为他们有很多连度,四个音节,在他们嘴里常常变成了2个音节,甚至一个音就带过了,你根本就反应不过来,这也就是我们听不懂他们说话的原因,太快了,而你根本不知道他连读了,如果按照自己的读英文的习惯,永远也做不到他们一样快。所以记住,!!!!!!学他们发出的声音,而不是读他们说出的句子!!!!!!!
这第三遍,我可以用老牛拉破车来形容,实在是很慢很无聊,要花费大量的时间,特别是一开始,记得101背到我想吐,莫尼卡的那句“THERE IS NOTHING
TO[url=]TELL@!#$%@#%@!%@$#%[/url]”可以直接当减肥药了,一听到就想吐!!但是,有一点保证,以后老外用多快的速度,我都能听懂她在说“THEREIS NOTHING TO
[url=]TELL@!#$%@#%@!%@$#%[/url]”而且可以和她说的一样快,一样纯正的美国纽约音。兄弟们~~~代价惨重阿~~~~~`你可以算一下,一集大约20分钟,每句话重复10遍,那是什么概念,就是一集学下来要200分钟,折合3个多小时,如果你特别笨的话,多跟几遍,时间又上去了,我经常会思想溜号,A-B的时候不知道想什么去了,就要多重复几遍。我当初算了一下,我大约要跟到第7遍的时候才有感觉,前面不是语速慢了,就是快了,要么就是停顿不对,也可能我比较笨?加上笨的原因,加上溜号,大约有4个小时一集把.
下面分析一下他们六个人的口音语速,RACH,我最喜欢的角色,她的口音不很好学,因为她经常会发出很可爱的声音,感情丰富啊,而且连音也比较多,但是学她很有用,因为她的发音很性感,个人认为。CHANDLER这个家伙经常会把我逼疯的,他太贫了,语速又快,最难学了,,最好学的是PHEEBS,很喜欢她,她的发音很圆润,语速也很正常,MONIKA可以用她来练长句子,她经常会一口气说很多,JOEY,他反映慢,语速适中应该是最好学的一个,可是他的声音太低了,不适合女生学,我学他太吃力了,男生的话是个首选~~~~
这样我整了3季的时候,除了生词,在新天地泡吧的时候,可以和老外自由对话,心理满足了一把过了3季,后面的7季就会块很多,因为很多句子,在你的耳朵里已经是很简单的,根本不需要重复,你要练习的只是特别难的那些长句,记不记得伦敦之行?走之前,莫尼卡的那一口气说完的长句子,呵呵,那就是最高境界,你可以脱口而出,和她一样快,一样不喘气,后面的你就不用跟了,你可以出师了~~~
但是,这是3季以后的事了,3季不过,一切免谈~~~
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儿童固然没那么大的毅力,但是儿童不缺乏学鸟叫的能力。建筑在高度熟悉的基础上,进行跟读模仿,专注细节,学的惟妙惟肖,也是个好办法。
2 充满感情的配音,先配音后背诵
配音的好处是,有画面,最好还能有背景非人声。配音者能感受身临其境,激发说的能力,同时语速上,也能接近主要角色。如果配音者主动,全身灌注投入感情,那么就会产生高代入感。忘掉自己的身份。进而发展出良好的语音。
网上有趣配音,但是这种配音,只是片段,不能实现窄输入和高度熟悉语音(比如长期大量听),作为爱好可以,但是要真正起到实质作用,还是要大量配音卡通。并建筑在长期浸泡在上百集的卡通声音的基础上。
实践中来说,很多配音学员,发音都很好,所以我也鼓励大家,尤其是语音较差,或刚开始启蒙的,优先配音。配音熟练,语音定型的基础上,在利用裸背,来促进语言的内化。
由此,我们要确定配音优先的地位。
当然不是说,强调了配音,就否定了背诵,二者目标,作用不同。背诵则相对简单,也有利于语言的内化和口语的培养。毕竟我们日常说话是不看着画面的。这两种都要有。
以后会有配音的要求一节,专门说明这个问题,但是简单的说,就是要耐心体验,高度感情投入,高度有代入感。把自己当配音演员看待。要入迷和忘我才好。同时要可以模仿语气,如果小孩说话平淡,不妨略微夸张一点。同时充分的放开,放松,进入表演状态。不要太拘谨。
3 过单词
过单词,可改善语音,这点也从实践中得到了充分的验证。所谓过单词,
就是熟悉单个的单词的发音。如果我们熟悉单个的单词的发音,也就有利于提高我们的语音分辨能力。听的更准。如果因为我们单词不知道,我们的大脑就会去把听不出来的,自动匹配为我们最像的,最近似发音的词,来试图理解句子的含义,这就会造成不能准确听出来发音。甲说前门楼子,乙听成胯骨轴子,这也可能。因为乙可能没听说前门楼子。
实际上,2年半以前,我在思考如何引导儿童看卡通,我当时第一个想法就是单音自解。(就是熟悉卡通一集中的单词的发音,这样在听卡通,小孩自己就容易理解),这么一个简单的战术。顺便说下,那时候我考虑的一个主题,就是要为家长英语基础差的,找到一个切实可行的办法,来学习卡通英语。因为有了这个萌芽,所以才有了后来两年半的,达到500人以上的实践。但跑个题说,数学我也有同样的想法,但是最后我发现这是不可能的,就结束了这种探索。卡通英语能跟卡通学,家长省心。数学跟谁去学啊?看录像没用。数学实质是一种艺术,一种探索的艺术。但懂艺术的老师总是缺乏。但卡通倒是遍地都是。
四 杂谈-个人认为普通人没有必要过于追求语音完美
个人以为,一般人注意下这些注意事项,利用卡通英语,可有效的改善语音,显著的变得更好,足以甩开应试教育几条大街了。
英语学习,还要考虑学习效率,词汇,口语输出,阅读,写作。目前国内高考,可能没有语音这项,就算你考雅思,也是流利度,准确度为第一位的。也不是语音选美比赛。
我的法国大老板,一口法国口音,你还不是得给人家打工?他的秘书,口音好,也还不是秘书?世界上的非英语母语的重要人物,几个口音好?
我隔壁单元,有个英国白人邻居(老婆北京人),搞英语培训,主动提出要给我儿子纠正下发音。去上他的课。我想想算了,我可没那个闲工夫。还不如看看中高考词汇,做做中高考阅读,有实际意义。更不如多做几道数学题。又没计划靠英语吃饭,不想当播音员。能有效交流沟通就行了。
【参考阅读,赤裸裸盗版,谁愿意告,可以到美国举报,我并未争取Krashen意见,哈哈】
大师Krashen: 二语口音的猜想 A Conjecture on Accent in a&nbs_逃离神庙_新浪博客
发表于 2014-1-1 00:00:00 | 查看: 297| 回复: 0
各位网友新年快乐,这是Krashen在2013年12月17日,刚刚发表的文章。 A Conjecture on Accent in a Second Language Stephen Krashen In: Z. Lengyel, J. Navracsics, and O. Simon (Eds.)1997. Applied Linguistic Studies in Central Europe, vol 1.Department of Applied Linguistics, University of Veszprem,Hungary. Scientists use the term "conjecture" when theirgeneralization is based on such flimsy evidence that it does notdeserve the label "hypothesis." This is such a case. My conjectureis that accurate pronunciation in a second language, even inadults, is acquired rapidly and very well. We simply do not use ourbest accents because we feel silly. Restated in more respectableterms, we have an "output filter," a block that keeps us from doingour best, from "performing our competence." This block is powerfuland it is difficulty, maybe impossible, to lower or weaken it withconscious effort. (The output filter differs from the affective, orinput filter. The affective filter prevents input from reaching thelanguage acquisition device. The output filter prevents us fromusing what we have acquired.) Here is the flimsy evidence. Much of it is based onmy own experience, but I suspect, after presenting these ideas to anumber of audiences and getting reactions, that others have hadsimilar experiences. 1. Variability: Our accents in second languagesvary, depending on how we feel. We are influenced by the situation,especially whether we feel we are being evaluated. When I speakFrench to someone who doesn’t speak English (or at least not verywell), where there is no audience, and I am comfortable with thatperson, I must say that my accent is not bad. On other occasions Ihave been told that I speak French without a traced of a Frenchaccent. Here is an example of the latter, an experience Ihope some readers can identify with. I was visiting Ottawa in theearly 1980’s, meeting with former colleagues, discussing, inFrench, our work on sheltered subject matter teaching which hadbegun when I worked there a few years before. I was verycomfortable with the group I was talking with; they included aclose friend and my former French teacher. I was doing very well.While I was at the chalkboard, making a point, a stranger enteredthe room. My mind raced: This man is probably a native speaker ofFrench, or at least much better than I am, and he probably thinksmy French is terrible. My accent and fluency deterioratedimmediately and involuntarily. In other words, my output filterwent up. One of the most accomplished polyglots in theworld, Dr. Kato Lomb of Hungary, reports that she has had similarexperiences. Now 88, Dr. Lomb has acquired 17 languages and is nowworking on Hebrew. I visited Dr. Lomb several times recently, andwe spoke English (her English is excellent). On one visit, my wifeand daughter came with me. Dr. Lomb remarked to me that she felther accent in English had been better when we were alone. Sheexplained that she felt quite comfortable with my wife anddaughter, but the fact that she did not know them as well as she knewme caused a small amount of selfconsciousness and hurt herperformance. Dr. Lomb is an enormously successful language acquirerand an experienced interpreter; if she feels the effects of theoutput filter, we can be sure others do. 2. Our ability to imitate other dialects of ourfirst language, as well as foreign accents. Given sufficient input, we can all do these thingsto at least some extent. The point is that we do not, because wewould feel uncomfortable doing so. The output filter holds usback.I can imitate, to some extent, a British accent. I haveacquired the rules for doing so subconsciously, and have no ideawhat kind of articulatory adjustments I am making when I do it. Ido not, however, use a British accent when speaking to someone fromLondon. My perception is that it would be rude, and evenridiculing, as if I were making fun of his speech, or as if I wererepresenting myself as someone I am not. Similarly, we can imitate foreign accents in ourfirst language. Obviously, we do not do this in ordinaryconversation. It would, we feel, be perceived as rude. There are domains in which the use of these accentsis permitted, in plays and jokes, for example. Even in thesesituations, however, their use is sensitive. In plays, dialectsmust be rendered very accurately, and in jokes their use can bedemeaning. Our ability, yet reluctance to use accents anddialects again shows that we do not perform our competence fullyand that there are powerful affective forces holding us back. 3. The alcohol study. Guiora, Beit-Hallahmi,Brannon, Dull, and Scovel (1972) asked subjects to drink differentamounts of alcohol after eating a candy bar. Not unexpectedly, theyreported that subjects’ short-term memory decreased with greaterconsumption. Accent in a foreign language, however, was bestafter subjects drank 1.5 ounces of bourbon. It was less accuratewith both less and more than this amount of alcohol. There was, inother words, an optimal point of inebriation. As most of us know,alcohol has the effect of lowering inhibitions. My interpretationof these results is that alcohol lowers the output filter, at leasttemporarily. Too much alcohol, however, disturbs control of thespeech apparatus. 4. Stevick’s example. Stevick (1980) describes aSwahili class he taught at the Foreign Service Institute that had three students in it.One was at a significantly higher level than the others. When thetop student had to drop the class, the number two student suddenlyshowed a dramatic improvement. My conjecture is that his outputfilter lowered, freed from the inhibiting influence of the betterstudent. Discussion To understand what factors are at work here, weneed to consider what language is for. Sociolinguists tell us thatlanguage has two functions: To communicate and to mark the speakeras a member of a social group. A part of language that plays amajor role in marking us as members of a social group is accent.Accent has little to do with communication; we can communicatequite well in another language having acquired only some of thesound system. Accent tells the hearer who you are, where you arefrom, in some cases your social class, and in other cases yourvalues. When we identify with the members of a group, we talk the way they do.Beebe’s review (Beebe, 1985) confirms this. We do not alwaysimitate the speech we hear the most. Children usually talk the way theirpeers talk, not the way their parents or teachers talk. (In somecases, children do talk like their parents; these children identifywith adult values, rather than those of other children, confirmingthat it is group membership that counts.) My conjecture is that accent is acquired rapidlybut is not performed, because we do not feel like members of thegroup that uses it; we are not members of the club (Smith, 1988).Either we do not wish to be members or have not been invited to bemembers. And even after we feel we are at least partly in thegroup, we can feel suddenly excluded, resulting in a strongeroutput filter. If this conjecture is correct, it has interestingimplications for pedagogy. Despite the numerous "accentimprovement" courses available, there is no evidence that secondlanguage accent can be permanently improved by direct instruction.Even if we could improve accent through instruction, however, theeffect might be harmful. Getting people to talk like members ofgroups they do not belong to may be similar to convincing someoneto wear inappropriate clothing - a tuxedo at an informal lunch or ajogging suit at a formal dinner. This conjecture does not suggest that all thosewith accents in their second language who live in the country wherethe language is spoken have failed to become members of society. Infact, it suggests the contrary. Most second language acquirers havegood accents. Listen to them carefully. They are rarely perfect ifthey began the second language as adults, but they typicallyacquire an impressive amount of the sound system. They certainly do not speak the second languageusing only the sound system of their first language. The problem isthat we usually make "all or nothing" judgments with respect toaccent. Either it is native-like or "accented." In reality, manysecond language acquirers acquire substantial amounts of the secondlanguage accent. In addition, it is likely that we hear them underless than optimal affective conditions: with lower output filters,they may sound even better. If this conjecture is correct, another conclusionwe can draw is that only our "best" accents, produced under optimalconditions, should be considered when judging accent quality orwhen discussing the limits of adult acquisition ofpronunciation. References Beebe, L. 1985. Input: Choosing the right stuff. InGass, S. and Madden. C. (Eds.) Input in Second Language Acquisition. New York: NewburyHouse. pp. 404-414. Guiora, A., Beit-Hallahmi, B., Brannon, R., Dull,C. and Scovel, T. 1972. The effects of experimentally inducedchanges in ego status on pronunciation ability in a second language. Comprehensive Psychiatry 13: 421-428. Smith, F. 1988. Joining the Literacy Club.Portsmouth, NH: Heinemann.
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