1. | The act of blocking out distractions. | A. | DECALAGE | |
2. | The task of making sense out of input. | B. | REHEARSAL | |
3. | The act of taking in the physical message. | C. | NONVERBAL BEHAVIOR SEARCH | |
4. | The creation of a grammatically correct message. | D. | CLOZURE | |
5. | The act of focusing on something within the act of listening. | E. | META COMMENTS | |
6. | The task of remembering, including both long and short term memory. | F. | PERCEPTION | |
7. | Developing a sense of thewhole message, the entire interaction, etc. | G. | AUDIENCE ASSESSMENT | |
8. | A preparatory stage for output. Formulation, without production into the target language. | H. | MONITORING OUTPUT | |
9. | Taking a stand as to the approach, term, etc. to be used. This would occur at many levels. | I. | MEDIATION | |
10. | The “final product” of the process. The physical creation of the message in the target language. | J. | CORRECTION | |
11. | Managing the information flow. Timing the outgoing information with the constraint of the necessary input. | K. | PACING | |
12. | Using (or tapping into) long and short term memory to help complete the output, or for understanding of the input. | L. | ATTENDING | |
13. | The act of using prior information and the message itself to assist in directing the interpretation onto a logical path. | M. | LINGUISTICALLY ACCEPTABLE TARGET LANGUAGE PRODUCTION | |
14. | Having a sense of the feelings of the population involved about one another so that the interpreter may better analyze the message and intent. | N. | CHARACTERIZATION | |
15. | These are the bits of information or “asides” that an interpreter may add to clarify or indicate her/his own confusion related to the communication. | O. | LEARNING | |
16. | While interpreting, the interpreter is constantly checking output with consumer response and with his/her own sense of the integrity of the message. | P. | VOCABULARY SEARCH | |
17. | The conscious act of attending to the linguistic and paralinguistic output of the speaker. We intend this term to refer to auditory and visual listening. | Q. | GENERATION AND RECEIVING OF NEW LEXICAL ITEMS | |
18. | The interpreter’s modification, after information has been formed in the target language, due to a new understanding or recognition of a perceived error. | R. | THE “SUPERVISOR” | |
19. | The portrayal, from one mode to the other, of information as to who is saying what and to whom. This refers to signed character portrayal and vocal characterization. | S. | ADDITION/SUBSTITUTION/OMISSION | |
20. | Taking in enough information to put out sufficientsufficient information to create a message. Processing time is a familiar word that relates to this concept very strongly. | T. | MODALITY SWITCHING | |
21. | taking in new information and applying that information to previous knowledge, i.e. learning a new fact and being able to use it in the succeeding portions of the same interpretation. | U. | UNDERSTANDING THE GESTALT | |
22. | The test formulation of the message for internal monitoring before the interpreter produces that message in the target language. This happens just before the actual production of the message in the target language. | V. | RETENTION | |
23. | This occurs with actual consumers and potential consumers alike. It is the act of determining characteristics of the population involved in the interpretation, such as their level of sophistication, preferences, etc. | W. | DECISION MAKING | |
24. | This relates to the interpreter’s altering of information to better match the target message with the incoming message. (Perhaps the final paragraph about the “supervisor” would be useful in relation to this concept.) | X. | ACCESSING PRIOR KNOWLEDGE | |
25. | The use of linguistic, experiential and situational clues to determine intent. In language usage, closure assists one in determining what parts of speech are needed in a spot where some of the information is outside the (visual or auditory) listener’s field. | Y. | ANALYSIS | |
26. | This relates to the interpreter’s learning and use of new signs and words during the interpreting process, and to the appropriate creation of new words and signs. For example, the deaf consumer may use a new sign and during the very same interpreting situation, the interpreter uses that novel sign. | Z. | UNDERSTANDING PARTICIPANT RELATIONSHIPS | |
27. | This occurs at the reception and production level. Assumed in the term is both spoken and signed nonverbal information. The interpreter recognizes incoming nonverbal behavior and modifies his/her understanding of the message appropriately. He/she then sends nonverbal information based on that sense of the input. | A1. | CONCENTRATING | |
28. | Determining meaning through the overt and covert links or relationships of the units of analysis (and the values of those relationships) to the entire interaction. Analysis occurs at many levels and requires the taking apart and reforming (or decomposition and recomposition) of information at a variety of levels. | B1. | LISTENING | |
29. | This is done both in reception and production. In reception, the interpreter must identify the word heard or the sign seen from the source language. For production, the interpreter must determine the sign or word needed in the target language. The analogy might be (at least) two file cabinets, one for English words, and one for ASL signs. | C1. | ANTICIPATION AND PREDICTION | |
30. | The use of the interpreter’s judgment in the interpretation. The interpreter determines some perceived need or gap, and responds appropriately, i.e. adds a comment to clarify certain information that may have seemed unclear in the interpretation, especially if that information was of a cultural nature. Issues of protocol enter the process here, where the interpreter must mediate cultural conflicts of differences. | D1. | UNDERSTANDING | |
31. | The act of finding a way to represent ideas sensorily, i.e. visualization, tactilization, auditorilization. This is meant to apply to aural and tactile, as well as visual input and output. It’s easier to interpret about a sand bar if you’ve seen one in your life and can visualize it. If a person were signing a message about tickets sticking together, having seen tickets do that would help the interpreter to verbalize that information. Knowing how it feels to have a feather run across your foot would give the interpreter a tactile image to work with if that were signed or spoken. | E1. | INTERNAL MESSAGE FORMULATION | |
32. | Taking in information in one mode, i.e. visual, and putting it out in another, i.e. auditory. This switch is mentally challenging because English is “long” while ASL is “deep.” ASL is just like a very complex overhead projector transparency of the US> One overlay is red to show one area of the country, another area has a blue overlay, some sections are purple due to the red and the blue, and other overlays can be still other colors. The shape of the map remains the same, but the detail and amount of information has changed. English is more like a train, with multicolored cars that are added for greater detail and information. | F1. | IMAGE SEARCH | |
33. | Perhaps the single most interesting event of the weekend was our confusion and excitement over a concept we had difficulty naming. We came up with the term, “supervisor.” Interpreters operate as though we are factories, full of parts that are being constructed, polished and turned out. Each of us has a supervisor who walks above, like on the catwalk, overseeing the entire operation checking the parts against the whole that is being created. The supervisor is responsible for maintaining the integrity of the interpretation. It is also the reason this task feels so magical. It is difficult to quantify the supervisor. The “supervisor” is simultaneously totally involved and absolutely detached. It is as if there is a video camera at each “station” (all the tasks involved in interpretation) and the “supervisor” can both watch all and actively participate whenever and wherever necessary. | G1. | PRODUCTION OF THE MESSAGE |
A1 | 1. | The act of blocking out distractions. | A. | DECALAGE |
D1 | 2. | The task of making sense out of input. | B. | REHEARSAL |
F | 3. | The act of taking in the physical message. | C. | NONVERBAL BEHAVIOR SEARCH |
M | 4. | The creation of a grammatically correct message. | D. | CLOZURE |
L | 5. | The act of focusing on something within the act of listening. | E. | META COMMENTS |
V | 6. | The task of remembering, including both long and short term memory. | F. | PERCEPTION |
U | 7. | Developing a sense of thewhole message, the entire interaction, etc. | G. | AUDIENCE ASSESSMENT |
E1 | 8. | A preparatory stage for output. Formulation, without production into the target language. | H. | MONITORING OUTPUT |
W | 9. | Taking a stand as to the approach, term, etc. to be used. This would occur at many levels. | I. | MEDIATION |
G1 | 10. | The “final product” of the process. The physical creation of the message in the target language. | J. | CORRECTION |
K | 11. | Managing the information flow. Timing the outgoing information with the constraint of the necessary input. | K. | PACING |
X | 12. | Using (or tapping into) long and short term memory to help complete the output, or for understanding of the input. | L. | ATTENDING |
C1 | 13. | The act of using prior information and the message itself to assist in directing the interpretation onto a logical path. | M. | LINGUISTICALLY ACCEPTABLE TARGET LANGUAGE PRODUCTION |
Z | 14. | Having a sense of the feelings of the population involved about one another so that the interpreter may better analyze the message and intent. | N. | CHARACTERIZATION |
E | 15. | These are the bits of information or “asides” that an interpreter may add to clarify or indicate her/his own confusion related to the communication. | O. | LEARNING |
H | 16. | While interpreting, the interpreter is constantly checking output with consumer response and with his/her own sense of the integrity of the message. | P. | VOCABULARY SEARCH |
B1 | 17. | The conscious act of attending to the linguistic and paralinguistic output of the speaker. We intend this term to refer to auditory and visual listening. | Q. | GENERATION AND RECEIVING OF NEW LEXICAL ITEMS |
J | 18. | The interpreter’s modification, after information has been formed in the target language, due to a new understanding or recognition of a perceived error. | R. | THE “SUPERVISOR” |
N | 19. | The portrayal, from one mode to the other, of information as to who is saying what and to whom. This refers to signed character portrayal and vocal characterization. | S. | ADDITION/SUBSTITUTION/OMISSION |
A | 20. | Taking in enough information to put out sufficientsufficient information to create a message. Processing time is a familiar word that relates to this concept very strongly. | T. | MODALITY SWITCHING |
O | 21. | taking in new information and applying that information to previous knowledge, i.e. learning a new fact and being able to use it in the succeeding portions of the same interpretation. | U. | UNDERSTANDING THE GESTALT |
B | 22. | The test formulation of the message for internal monitoring before the interpreter produces that message in the target language. This happens just before the actual production of the message in the target language. | V. | RETENTION |
G | 23. | This occurs with actual consumers and potential consumers alike. It is the act of determining characteristics of the population involved in the interpretation, such as their level of sophistication, preferences, etc. | W. | DECISION MAKING |
S | 24. | This relates to the interpreter’s altering of information to better match the target message with the incoming message. (Perhaps the final paragraph about the “supervisor” would be useful in relation to this concept.) | X. | ACCESSING PRIOR KNOWLEDGE |
D | 25. | The use of linguistic, experiential and situational clues to determine intent. In language usage, closure assists one in determining what parts of speech are needed in a spot where some of the information is outside the (visual or auditory) listener’s field. | Y. | ANALYSIS |
Q | 26. | This relates to the interpreter’s learning and use of new signs and words during the interpreting process, and to the appropriate creation of new words and signs. For example, the deaf consumer may use a new sign and during the very same interpreting situation, the interpreter uses that novel sign. | Z. | UNDERSTANDING PARTICIPANT RELATIONSHIPS |
C | 27. | This occurs at the reception and production level. Assumed in the term is both spoken and signed nonverbal information. The interpreter recognizes incoming nonverbal behavior and modifies his/her understanding of the message appropriately. He/she then sends nonverbal information based on that sense of the input. | A1. | CONCENTRATING |
Y | 28. | Determining meaning through the overt and covert links or relationships of the units of analysis (and the values of those relationships) to the entire interaction. Analysis occurs at many levels and requires the taking apart and reforming (or decomposition and recomposition) of information at a variety of levels. | B1. | LISTENING |
P | 29. | This is done both in reception and production. In reception, the interpreter must identify the word heard or the sign seen from the source language. For production, the interpreter must determine the sign or word needed in the target language. The analogy might be (at least) two file cabinets, one for English words, and one for ASL signs. | C1. | ANTICIPATION AND PREDICTION |
I | 30. | The use of the interpreter’s judgment in the interpretation. The interpreter determines some perceived need or gap, and responds appropriately, i.e. adds a comment to clarify certain information that may have seemed unclear in the interpretation, especially if that information was of a cultural nature. Issues of protocol enter the process here, where the interpreter must mediate cultural conflicts of differences. | D1. | UNDERSTANDING |
F1 | 31. | The act of finding a way to represent ideas sensorily, i.e. visualization, tactilization, auditorilization. This is meant to apply to aural and tactile, as well as visual input and output. It’s easier to interpret about a sand bar if you’ve seen one in your life and can visualize it. If a person were signing a message about tickets sticking together, having seen tickets do that would help the interpreter to verbalize that information. Knowing how it feels to have a feather run across your foot would give the interpreter a tactile image to work with if that were signed or spoken. | E1. | INTERNAL MESSAGE FORMULATION |
T | 32. | Taking in information in one mode, i.e. visual, and putting it out in another, i.e. auditory. This switch is mentally challenging because English is “long” while ASL is “deep.” ASL is just like a very complex overhead projector transparency of the US> One overlay is red to show one area of the country, another area has a blue overlay, some sections are purple due to the red and the blue, and other overlays can be still other colors. The shape of the map remains the same, but the detail and amount of information has changed. English is more like a train, with multicolored cars that are added for greater detail and information. | F1. | IMAGE SEARCH |
R | 33. | Perhaps the single most interesting event of the weekend was our confusion and excitement over a concept we had difficulty naming. We came up with the term, “supervisor.” Interpreters operate as though we are factories, full of parts that are being constructed, polished and turned out. Each of us has a supervisor who walks above, like on the catwalk, overseeing the entire operation checking the parts against the whole that is being created. The supervisor is responsible for maintaining the integrity of the interpretation. It is also the reason this task feels so magical. It is difficult to quantify the supervisor. The “supervisor” is simultaneously totally involved and absolutely detached. It is as if there is a video camera at each “station” (all the tasks involved in interpretation) and the “supervisor” can both watch all and actively participate whenever and wherever necessary. | G1. | PRODUCTION OF THE MESSAGE |