Carol A. Chapelle - The Concise Encyclopedia of Applied Linguistics

SEE ALSO:Cultural Approaches to Translation; History of Translation

1 Antonini, R. (2005). The perception of subtitled humor in Italy: An empirical study. In D. Chiaro (Ed.), Humor and translation (Special issue). Humor: International Journal of Humor Research, 18(2), 209–25.

2 Chiaro, D. (2008). Issues of quality in screen translation: Problems and solutions. In D. Chiaro, C. Heiss, & C. Bucaria (Eds.), Between text and image: Updating research in screen translation (pp. 241–56). Amsterdam, Netherlands: John Benjamins.

3 Chiaro, D. (2009a). The politics of screen translation. In F. M. Federici (Ed.), Translating regionalised voices in audiovisuals (pp. 27–42). Rome, Italy: Aracne.

4 Chiaro, D. (2009b). Issues in audiovisual translation. In J. Munday (Ed.), The Routledge companion to translation studies (pp. 141–65). London, England: Routledge.

5 Condry, I. (2010). Dark energy: What fansubs reveal about the copyright wars. Mechademia, 5(1), 193–208.

6 Danan, M. (1991). Dubbing as an expression of nationalism. Meta, 36(4), 606–14.

7 Díaz Cintas, J., & Remael, A. (2007). Audiovisual translation: Subtitling. Manchester, England: St. Jerome.

8 Díaz Cintas, J., & Sanchez, P. (2006). Fansubs: Audiovisual translation in an amateur environment. JoSTrans, The Journal of Specialised Translation, 6, 37–52.

9 Gottlieb, H. (2001a). Anglicisms and TV subtitles in an Anglified world. In Y. Gambier & H. Gottlieb (Eds.), (Multi)media translation. Amsterdam, Netherlands: John Benjamins.

10 Gottlieb, H. (2001b). Subtitling: Visualizing filmic dialogue. In L. Garcia & A. M. Pereira Rodriguez (Eds.), Traducción subordinada (II): El subtituolado (pp. 85–110). Vigo, Spain: Servicio de la Univeridad de Vigo.

11 Izard, N. (2000). La traducció i la normalització de la llengua catalana: El cas de la televisió. In A. Engelbert (Ed.), Actes du XXIIe Congrès International de Linguistique et de Philologie Romane (Vol. III). Tübingen, Germany: Niemeyer.

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13 Luyken, G.‐M., Herbst, T., Langham‐Brown, J., Reid, H., & Spinhof, H. (1991). Overcoming language barriers in television: Dubbing and subtitling for the European audience. Manchester, England: European Institute for the Media.

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15 O'Hagan, M. (2012). From fan translation to crowdsourcing: consequences of Web 2.0 user empowerment in audiovisual translation. Approaches to Translation Studies, 36, 25–41.

16 Paolinelli, M., & Di Fortunato, E. (2005). Tradurre per il doppiaggio. Milan, Italy: Hoepli.

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EVE ZYZIK

Authenticity in language teaching is a broad concept since it can refer to an inherent quality of a text, the types of tasks used in language classrooms, or the subjective way in which learners engage with the materials presented to them (see Gilmore, 2007, for eight interrelated definitions of authenticity). Zyzik and Polio (2017, p. 1) define authentic materials as “those created for some real‐world purpose other than language learning, often, but not always, by native speakers for native speakers.” Under this definition, authentic materials comprise a wide variety of spoken and written language samples, including newspaper articles, graphic novels, greeting cards, restaurant menus, radio broadcasts, political speeches, songs, and films. The common feature among these materials is that they were created with a particular communicative intent and were not modified for pedagogical purposes.

This entry will focus primarily on authentic materials as described above, noting that other conceptualizations of authenticity are possible. The previous entry on this topic (McKay, 2012) characterized authenticity in terms of learner relevance and engagement: “Authentic language learning texts are… those texts that particular groups engage with and create discourse around for meaningful purposes” (p. 2). Yet another vantage point comes from task‐based language learning, where some tasks are designed to simulate real‐world activities (e.g., making a reservation at a restaurant). In contrast, many classroom tasks do not resemble activities we do in real life, and yet these tasks achieve interactional authenticity (Ellis, 2017). Consider an opinion gap activity in which a group of learners has to reach consensus on five items that they will need for survival on a deserted island. The situation itself may not be authentic, but the language used during the task resembles the kind of discussion and negotiation that happens in real‐life interactions.

Authentic materials have had a place in language classrooms since the early days of the grammar translation method, which was aimed at teaching students to read (and translate) classic literary texts. However, as language teaching methods evolved, so did the status of authentic materials. The audiolingual method, which utilized pattern drills to manipulate form, dismissed authentic materials in favor of contrived dialogues that carefully controlled the vocabulary and grammatical structures presented to learners. The dialogues that characterized the audiolingual method lacked the naturalness of authentic discourse and undoubtedly had “little of the savour of real‐life conversations” (Singleton, 2014, p. 116). In the late 1970s, with the development of communicative language teaching (CLT), authentic materials gained popularity once more, but this time with the goal of promoting meaningful communication using texts and social situations beyond the confines of the classroom. For many language educators, a central feature of CLT is the use of authentic texts. Authentic materials also have played a prominent role in content‐based instruction (see Snow & Brinton, 2017), where the goal is to integrate language and content. Likewise, in foreign language contexts, there has been a general trend towards integrating language and content at all levels of instruction, as advocated by the Modern Language Association (MLA) report (MLA Ad Hoc Committee on Foreign Languages, 2007). As a result, authentic literary texts are now being utilized to some degree in lower‐level courses with the goal of reducing the artificial separation between “language” and “content” courses. Finally, authentic materials have taken on a central role in assessment, especially integrated performance assessment (IPA), which involves students reading or listening to authentic texts related to a particular theme (see Adair‐Huck, Glisan, & Troyan, 2013).

A common assumption among language educators is that authentic materials can be an important source of motivation because learners perceive their real‐world purpose and cultural relevance. For example, Matsumoto (2007) documented that authentic Japanese learning materials (e.g., movies, animation/anime, songs) constituted a “peak learning experience” for many American learners of Japanese (p. 200). Nevertheless, the relationship between authenticity and motivation is not straightforward. Authentic texts that are too difficult for the students, especially if presented without sufficient pedagogical support, can result in frustration rather than enhanced motivation. In fact, some studies have found that learners prefer non‐authentic materials. Kmiecik and Barkhuizen (2006) reported that learners of English favored nonauthentic listening texts because they were easier to comprehend; they felt overwhelmed by the speed of delivery and unknown vocabulary in the authentic listening materials. Thus, authentic texts are not inherently motivating. As Gilmore (2007) explained,