Reading Parallel Texts

Lately I've found a wealth of encouragement from this Every Day Language Learner post, Language Learning Tip: Using Parallel Texts. I have several books of this type, mostly German (Grimm Märchen, poetry anthologies and collections by Goethe and Rilke), but also a Gàidhlig collection of folk tales and Robert Henryson's The Testament of Cresseid in Middle Scots. Moreover the internet is chalk full of ways to synthesize the concept. In the past, when faced with an intimidating swath of foreign language, I've taken the machete-through-the-jungle approach, with minimal glances at my mother-tongue translation, convinced that the effort of immersion should be assuaged by English as little as possible.

Anne Anderson's princess from  The Golden Bird  doesn't judge a book by its cover.

Anne Anderson's princess from The Golden Bird doesn't judge a book by its cover.

According to Aaron's post, this is not the best way to go about it. He suggests first reading a portion of the text (as much as a single sentence to a whole chapter) in your native language, gaining an understanding of its meaning, and only then taking on a chunk of the target language. This way you spend little if no time looking up individual vocabulary words and have much more contextual or narrative meaning to assign. It also helps clear up idiomatic difficulties and generally keeps you going further longer. This concept has already been at work when I've read sections of the Bible, Harry Potter, or any of the Narnia stories because of my background knowledge.

Since reading this article, in addition to feeling good about being placed in the "Intermediate" category, I've barreled through no less than four Grimm stories with an extremely high comprehension and retention. I've discovered that this method is much more difficult with poetry given the high level of abstraction and grammatical anomalies (although my dreams seem to be haunted by Klopstock's Das Rosenband). My greatest joy has now been to read Friedrich Motte Fouqué's Undine in English, a fairy tale greatly admired by George MacDonald. I had bought the little yellow copy of the story in German while in Leipzig last year, but have always felt as if I should be much further along in vocabulary before I stumbled through it. Now, having read it once over in my mother tongue, to great satisfaction and joy, I am well equipped to take a stab at it in the original. I hope to use this same idea to get through my languishing copies of stories by Kafka, Ende's Neverending Story, and Goethe's Young Werther.

Happy reading!

The Art of Shadowing

I truly love foreign languages. Ever since I was little I have been attracted by the mystery of different linguistic cultures, the sounds, the shapes and configurations of letters, the similarities and differences, the shadowy but inviting veil between confusion and illumination. I think my first experiences with foreign language came from Bible stories, worlds filled with lengthy lists of mysterious names and cities and rivers, and finding my own name among its pages certainly confirmed my place and invited my participation in a life of language learning. You cannot get far in literature or music without coming across a linguistic frontier, and I simply find them delightful and stirring.

Up until this point my language interests have lacked a certain focus. I have never become "fluent" by any technical or personal standard and most forays into a given study have been more in the area of the hobby. (Not that this is bad! I wouldn't give up a moment of learning the Greek alphabet with my brother in elementary school or learning French by casette in junior high. Those experiences have made me who I am today.) This post explores the paradigm shift that I am experiencing in my linguistic study, an exciting change that promises to enrich and focus my already eager passion.

Lava Gull  (1991) by Alan Gouk.

Lava Gull (1991) by Alan Gouk.

It all starts with the blog world. Seriously, type "second language acquisition blog" in Google or click on one of the language blog links to the left. There is a whole world of people who love nothing better then exploring great ways to learn languages. I particularly appreciate the combination of opinion, study, and outright encouragement I find in blogs like The Mezzofanti GuildEDLL, and polyglossic. It's best to stay positive.

Here are the things I've been doing to stay positive. My language at this point is German: the tongue of my maternal ancestors (Bachmans und Luckensmeyers), the language of Vogelweide, Luther, Bach, Goethe, and Schoenberg, and the one in which every musicologist needs to be proficient. Growing up my learning tools have consisted of learning grammar, some vocabulary, and maybe trying to memorize a song or poem. Very solitary, very inefficient, and ultimately discouraging. In 2009-10 I took a year of German at a community college, an extremely uplifting environment that got me enough chops to start reading fairy tales by the Grimm Brothers. Personally, I suggest all these things and would add to them the following unique and exciting technique that I've recently gotten into: shadowing. (Disclaimer: I'm not an expert, just enthusiastic.)

Shadowing goes something like this. Remember when you were in, say, third grade and you thought it would be awesome to "show off your cognitive erudition" (also known as "annoy people") by repeating whatever anyone else says as they're saying it. It's word piggybacking. If you did not ever do that as a child, perhaps you have had it done to you, or maybe you've heard the echo effect in the second verse of Britten's This Little Babe from A Ceremony of Carols. The object is to listen and mimic, immediately, almost simultaneously, the foreign words you are hearing. Additionally one can shadow more effectively by saying the sounds as loudly and clearly as possible and by pacing briskly. That last part is a little awkward at first, but is intended to challenge your brain to multitask and therefore get the language into the "automatic" section of your mind. Interested? Confused? More description here.

Duchamp Descending a Staircase  by Du-u-cha-ha-m-mp-p himself.

Duchamp Descending a Staircase by Du-u-cha-ha-m-mp-p himself.

This is how I do it. I subscribe to podcasts from www.SlowGerman.com a series of talks by Annik Rubens of Münich. I listen to half-minute intervals on my iPod with earbuds, saying the sounds as she says them, while pacing back and forth on my porch, repeating until I feel as though I am matching the sounds and inflections of her voice. Later I will read the text and put together more of the meaning that I wasn't able to glean from just listening. The benefits of this process after a month are:

  • I am exercising my listening skills, something you can't really do by just reading, but something you don't want to leave until the last minute if you actually expect to have a back-and-forth conversation with a native. Identifying words without reading is very difficult for me, sort of like musical dictation, but that probably means its worth doing.
  • I am ingesting the "music" of German. Even if I don't know the exact meaning I can generally identify clauses, verbs, nouns, prepositional phrases, etc. I can especially hear the double-verb sentence endings (...fahren wollen). These forms and sentence chunks become ear-worms that play repeatedly in my head.
  • Afterwards I can babble in German, funny little sentences. Huge boost to the confidence, feeling things roll off your tongue, even if they roll without complete control. With the forms in my head it's just a matter of learning some more vocabulary and brushing up on grammar, mostly genders and adjective inflection. 

If you want something to revitalize and challenge your language learning experience, I would suggest trying out shadowing. It is truly exhilarating (SlowGerman.com is not quite as slow as you might think and sometimes it feels like getting chased by a pack of wolves to keep up) and quite satisfying to glean meaning from repeated listenings without the help of a text.

This is often how it feels to do shadowing, although the consequences of slipping are not nearly as tragic.

This is often how it feels to do shadowing, although the consequences of slipping are not nearly as tragic.