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Non-readers, who lack alphabetic literacy, may perform differently from alphabetically literate readers on tasks that draw upon phonological awareness, or may fail to perform them at all, despite their lexical and grammatical capabilities. But for alphabetically literate, reading adult learners of a second or subsequent language (L2+) in instructed foreign language (FL) settings, phonological representations typically entail both speech sound categories and orthographic labels, domains connected by grapheme-phoneme correspondences (GPCs) on a language-specific basis. A long tradition of auditory phonetic training research demonstrates benefits for aural perception of novel L2+ contrasts, but such training studies focus almost exclusively on gains in L2+ aural perception and articulatory production rather than connection to the orthographic domain. Our study investigates how phonetic training impacts the phonological and orthographic domains, including category perception and target-language (TL) GPCs, across the crucial differences between first language (L1) categories vs. L2+ categories and between naïve pre-learners in cross-language speech perception vs. L2+ learners in L2+ speech perception at early stages of exposure. The paper reports preliminary results on one novel vowel condition (represented by German Ü) and one novel consonant condition (represented by German CH). The L2+ Sound Learning Lab, led by Dr. John H.G. Scott (principal investigator) presented these findings at the 2023 Boston University Conference on Language Development. This research was funded by the Social Sciences and Humanities Research Council of Canada.

The Routledge Handbook of Multiliteracies for Spanish Language Teaching: Multimodalidad e Interdisciplinariedad provides a comprehensive, state-of-the-art account of the main theoretical, curricular and pedagogical foundations for implementing and researching a pedagogy for multiliteracies in Spanish Language Teaching.

The volume is specifically designed to meet the needs of scholars, teachers, and undergraduate and graduate students who wish to develop their knowledge about the latest research and new trends in the field of multiliteracy applied to Spanish Language Teaching from an international perspective.

This chapter examines Larisa Shepitko’s harrowing war film, The Ascent (Voskhozhdenie, 1976), in an attempt to address the following question: What are the consequences, on the level of meaning, of the film’s exploration of material experience? In terms of plot, the film is unusual in how it humanizes collaboration with the enemy, an act usually befitting only villainous characters in Soviet cinema. The film as a whole, and the first half in particular, emphasizes what Lucía Nagib calls the “realist mode of production”—in particular, through on-location shooting in which the actors endured conditions similar to those experienced by their onscreen characters. The “documentary” approach to the production of a historical film serves to recuperate a sense of contingency, in opposition to the teleological developmental narrative of Soviet History, a gesture that fits into the post-war, post-Stalin-era Soviet “counter-cinema” attempt to break with the entrenched norms of socialist realism. I argue that in rejecting the psychological development of the two main characters and in focusing, particularly in the first half of the film, on the materiality of experience under the extreme conditions of the war, the film exceeds the boundaries of its ostensible central ideological conflict and its engagement with the Soviet mythology of the Second World War. Rather, the film poses broader, universal questions of moral life under extreme circumstances, and provides the audience with the conditions for engaging those questions through their own experiences—and their experience of the film.