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Barthes’s Semiotic Theory and the TCSL Classroom

  • Yanhua Xu

    Yanhua Xu (b. 1993) is a postgraduate at Nanjing Normal University. Her research interests include the semiotic theory of Roland Barthes and linguistics. Her publications include: “The further study on Saussure’s principle of arbitrariness” (2015), “Literature review on conceptual blending theory” (2017), “Polyphony: A dialogue between Barthes and Bakhtin” (2017).

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Published/Copyright: April 26, 2018
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Abstract

With the help of Chinese reform and the opening-up policy, as well as the global cultural fusion, TCSL (Teaching Chinese as a Second Language) is gradually growing into a hot research field where more and more research has been conducted to solve difficulties in practical teaching. However, little of this is concerned with the semiotic value of the TCSL classroom. To fill this research gap, this paper innovatively regards the TCSL classroom as a special semiotic text and applies Roland Barthes’ textual analysis theory into the TCSL classroom. Through a series of theoretical analyses and case studies, it aims at exploring the mutual connection between Barthes’ free text and the TCSL classroom and elaborating five codes existing in the TCSL classroom. At the same time, a new plural teaching model is expected to be constructed which can realize the democratic communication between the teacher and students, bring students’ subjective initiative into full play and eventually achieve the goal of mutual learning.

1 Introduction

Since the 1950s, teaching Chinese as a second language (TCSL) has gone through a long journey of development and is now quite popular. At the same time, Mandarin fever and our dream of spreading Chinese language and culture worldwide promote the process of studies on TCSL. To enhance the effectiveness of Chinese teaching, many researchers focus on dealing with practical issues, such as what kind of content should be taught, or how to teach foreign students Chinese, which, to a large extent, explores the practical meaning of Chinese teaching and offers beneficial advice to teaching practice. However, as one kind of second-language acquisition, TCSL is also a subject full of semiotic research value, because the classroom itself is certainly full of signs. But little research in the past concerned the semiotic aspect of the TCSL classroom. Based on the current research background mentioned above, this paper aims to study the TCSL classroom from a semiotic perspective. And we narrow the semiotic perspective here to Roland Barthes’ thought – textual analysis theory, which was originally applied to the analysis of literary works. As a new attempt to build the connection between Barthes’ thought and the TCSL classroom, this paper attempts to verify the possibility of taking the TCSL classroom as a semiotic text and exploring the codes existing in it. Furthermore, the study aims to prove the positive influence of Barthes’ textual analysis theory on the TCSL classroom and hopes to indicate directions for further research on TCSL.

2 Textual analysis theory

Textual analysis theory derived from the renowned semiotician Roland Barthes, who based his ideas on Saussure’s conception of semiotics and examined the arbitrariness of signs within communication systems, such as text, fashion, and music. As a creative way of text interpretation, this theory ran through many academic works of Roland Barthes, such as ImageMusicText (1977), Writing degree zero (2008) and S/Z (1974).

Before introducing the main line of thought in Barthes’ textual analysis, two pairs of concepts need understanding: “text and work” and “readerly text and writerly text.”

Barthes distinguished the text from the work on the basis of seven propositions: “method, genre, signs, plurality, filiation, reading, and pleasure” (Barthes 1977: 156). First, the work is a definitive object which can be displayed or seen, while text is methodological (Barthes 1977: 156). As Barthes said, “the text is held only in language, only exists in the movement of discourse” (Barthes 1977: 157). Second, the text can’t be classified into different genres as the work can. Third, the work can be taken as a general sign, while the text can be approached in reaction to the sign, which is decentered and has no closure (Barthes 1977: 157–158). Besides, Barthes deems that “the text is plural” and “the plural of the text depends, that is, not on the ambiguity of its contents but on what might be called the stereographic plurality of its weave of signifiers” (Barthes 1977: 159). In addition, the work is identified by its relationship with its author while the text functions as a network that can be broken and read with no consideration of the author (Barthes 1977: 160–161). Last but not least, compared to the distant distance between readers and work, reading a text is a process to play, produce, and practice, where pleasure arises from the text’s participation in a social utopia (Barthes 1977: 163–164).

In most cases, Barthes argued that most texts are readerly texts which present the style and content in a familiar and traditional manner. Elements are hidden which prevent the text from revealing its multiple meanings. Readers can merely receive information passively. By contrast, when interpreting the writerly text, readers have a chance to play an active role in constructing meanings (Barthes 1974: 4–5). According to Barthes, “to interpret a text is not to give it a (more or less justified, more or less free) meaning, but on the contrary to appreciate what plural constitutes it” (Barthes 1974: 5). After the explanation above, it is believed that the following main ideas in Barthes’s textual analysis theory can be better understood.

2.1 Zero-degree writing and the death of author

In many academic works by Roland Barthes,

A text is made from multiple writings, drawn from many cultures and entering into mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity is focused, and that place is the reader, not as hitherto said, the author. The reader is the space on which all the quotations that make up the writing are inscribed without any of them being lost; a text’s unity lies not in its origin but in its destination…the birth of the reader must be at the cost of the death of the author because the existence of author is a force to affect the plural interpretation of the text. (1977: 148)

In Barthes’s statement, the existence of author is a force to affect the plural interpretation of the text and to replace the opportunity of audience to rewrite the text. Thus, in order to realize the plurality, removing the author is a must (Barthes 1977: 146–147).

2.2 Five codes

Since the link between the author and the text was weakened, then what other sources of meaning could be found in literature? Barthes concluded that meanings must be actively created by the reader instead of the author through a process of textual analysis (Barthes 1977: 126). As Barthes said, it is “no longer a matter from where the text comes (historical criticism), nor even how it is made (structural analysis), but how it is unmade, how it explodes, disseminates – by what coded paths it goes off” (Barthes 1977: 126–127). And he identified five different kinds of semiotic elements which could be applied to all texts, namely hermeneutic, proairetic, semantic, symbolic, and cultural codes.

The hermeneutic code is “the voice of the truth” (Barthes 1974: 209). In literary theory, hermeneutic codes are originally used to reveal the meaning of secular works like the Bible. Now, it refers to the process of creating the mystery and then revealing it (Barthes 1974: 19). As Barthes explained, “the variety of these terms (their inventive range) attests to the considerable labor the discourse must accomplish if it hopes to arrest the enigma and keep it open” (Barthes 1974: 76).

The proairetic code is “the empirical voice” (Barthes 1974: 203). It applies to any action that implies a further narrative action. This code uses the sequential nature of action to propel the reader through the story. Every action in the story implies that there will be another action. Therefore, proairetic codes are studied in a syntagmatic order (Barthes 1974: 19).

The semantic code is “the voice of the person.” It refers to any element in the text that suggests a particular or additional meaning by means of connotation (Barthes 1974: 190–191). In other words, the semantic code is made up of elements called connotative semes, which mean words or phrases containing an extra-literal layer of meaning. Rather than attempt to impose an organizational structure on elements of the semantic code, Barthes preferred to allow the semes “the instability, the dispersion, characteristic of motes of dust, flickers of meaning” (Barthes 1974: 19).

Similar to the semantic code, the symbolic code, “the voice of symbol” (Barthes 1974: 21), acts on a wider level by organizing semantic meanings into broader and deeper sets of meanings. Barthes considered that “the meaning inevitably derives from the conjunction of two oppositions: antithesis or paradox” (Barthes, 1972: 194). As Barthes writes, “every joining of two antithetical terms, every mixture, every conciliation—in short, every passage through the wall of the antithesis—thus constitutes a transgression” (Barthes 1974: 27).

The cultural code is “the voice of science” (Barthes 1974: 205). It refers to the elements that give common knowledge. Readers’ understanding of culture, history, science, and folk wisdom has an influence on our interpretation of the cultural code. Authors often rely on a sense of shared knowledge when they incorporate cultural elements into a text. Cultural codes give more context and are tied to clichés, proverbs, or popular sayings (Barthes 1974: 20).

3 Mutual connections between free text and the TCSL classroom

After gaining knowledge of Barthes’s semiotic theory above, we can easily recognize its uniqueness in interpreting texts. Indeed, many researchers borrowed his theories into analyses of different texts, but none of them have attempted to relate Barthes’s theories to classroom teaching. However, classrooms, especially language teaching classrooms, are full of signs, such as classroom discourse and teachers’ nonverbal signs. Before we apply Barthes’s semiotic theory into the TCSL classroom, we first need to ask ourselves one question – why can these two things be connected? What are the similarities between them?

On one hand, Barthes’s textual analysis theory and the TCSL classroom both involve three elements. In Barthes’s textual analysis theory, these three elements mean the author, text, and readers. In the past, we consistently followed the inherent model: The author sent the information he wanted to express to readers and readers could only consume the information. But Barthes was opposed to this kind of passive reading, and tried to transform the role of readers from consumers to writers of text (Barthes 1977: 162). In terms of the TCSL classroom, these three elements represent the teacher, course content, and students. Likewise, teachers were endowed with authority in the traditional teaching model. In the past “duck-stuffing” type of teaching model, students could only receive knowledge passively. Like customers, students paid for their education and unconditionally received what they were given. Fortunately, with the accumulation of research achievements, the old-fashioned model has been abandoned in many areas and replaced by the active model, where the role of students changes from consumers to participants.

On the other hand, Barthes’s textual analysis theory and the TCSL classroom are both based on language and involve two aspects. As is known to all, language is a medium of literature. Besides, language, as its main manifestation, is the carrier of culture, and its meaning is closely related to culture. Thus, when we analyze one certain literary work, we need to start from two aspects – the text itself and culture behind it. In the TCSL classroom, the main goal is to enable students to acquire Chinese. The American linguist, Edward Sapir once wrote in his book Language: An introduction to the study of speech:

It goes without saying that the mere content of language is intimately related to culture. A society that has no knowledge of theosophy need have no name for it; aborigines that had never seen or heard of a horse were compelled to invent or borrow a word for the animal when they made his acquaintance. In the sense that the vocabulary of a language more or less faithfully reflects the culture whose purposes it serves it is perfectly true that the history of language and the history of culture move along parallel lines. (1921: 100)

As is stated above, it is obvious that Sapir confirmed the important role culture plays in the development of language. Therefore, when we analyze the TCSL classroom, we need to start from the class itself and the culture behind it. Apart from language points, cultural communication is also full of semiotic value and is worth studying.

Additionally, the TCSL classroom meets the demand of Roland Barthes’s free text. Barthes dreamed of creating a utopia for us where he advocated zero-degree writing and the writerly text. Even at the cost of the death of author, Barthes still insisted that readers could only get freedom in this way (Barthes 1977: 142–148). However, over the past few years, Barthes’s radical thoughts have always been attacked because this utopia can never come true in the text analysis. From the view of authors, social background, culture, and their own experience more or less have a subtle influence on their literary works. From the view of readers, in an attempt to understand the author’s ideas in the literary work, it is natural to relate the work to its author unconsciously. However, this kind of free interpretation may be realized in the TCSL classroom. To foreign learners, especially those who have never had direct access to Chinese before, the knowledge in front of them is totally new. They can have enough space for imagination and creativity at understanding Chinese characters, traditional items, new grammar rules, and so on. Thus, the TCSL classroom promises to provide ideal conditions for the application of Barthes’s textual analysis theory.

4 Five codes in the TCSL classroom

In the previous sections, we discussed the adaptability of Barthes’s theory in the TCSL classroom. We also found that the TCSL classroom can be taken as a semiotic text.

According to Roland Barthes, any text can be analyzed using his five codes (Barthes 1974: 19). He presented his theory of five codes to interpret the underlying structure of all narratives (Barry 2002: 151). After the close scrutiny of a literary text against these codes, the text can be categorized for its form and genre. Since we have explained the definition of each code in the previous chapter, now we will move forward a further step to apply these five codes in the analysis of the TCSL classroom. Compared to all narratives, the TCSL classroom can be called a special form of narrative and has its own uniqueness. When it comes to finding codes in the TCSL classroom, the first thing that comes to mind is classroom discourse. As the dialogue between the teacher and students, classroom discourse is similar to text and certainly contains codes. However, different from the common literary text, the TCSL lesson is a visual process rather than a written form. Nonverbal language is of great importance as well. Thus, the following analysis will take various aspects in the teaching process into consideration. It will not only be a new attempt in studies on the TCSL classroom, but also will bring new meaning to the five codes.

4.1 The hermeneutic code

According to Roland Barthes, the hermeneutic code refers to the process of creating the mystery and then revealing it. Its function is to constantly keep readers’ interest in the text (Barthes 1974: 19). Usually, arranging clues is an effective method of attracting readers to reading on and of working up readers’ desire to solve the riddle. In the TCSL classroom, keeping students’ interest and preventing them from distraction are also tough tasks. To make sure that all students concentrate on learning, the teacher’s interference is a must. In most cases, the teacher’s thought-provoking guidance usually plays the role of building a ladder for students to climb and motivating students to solve questions under his enlightenment. Thus, we can easily find hermeneutic codes in the teacher’s guidance.

One obvious hermeneutic code in the TCSL classroom is questions raised by teachers. Questions and answers are the most basic way of human communication. From a psychological point of view, raising questions can encourage students to think. Based on Barthes’s theory (Barthes 1974: 210), questions themselves can be viewed as a little mystery which pushes the whole class to develop further. In a general way, questions target new knowledge. They aim to raise the students’ attention and develop the students’ activity and creativity to discover, understand, and memorize the new knowledge. However, this process will not always proceed smoothly and within the teacher’s expectation. That is why the partial answer comes into being.

It is inevitable that students will make mistakes or encounter obstacles in the process of answering questions. To prevent students from losing confidence, sometimes it is necessary that teachers give partial answers. Giving partial answers in the TCSL classroom is setting an enigma as well. It can not only lead students back on the correct track, but also leave students to discover the remaining half answer. It stimulates students’ curiosity and promotes the progress of the whole class.

Another hermeneutic code is discussions held by the teacher. There is no doubt that discussions are an effective way to involve all students in participating in the classroom and stimulating students’ activeness and initiative. From the perspective of the teacher, discussions are also a good opportunity to communicate with students and begin a journey of exploring the knowledge with students together.

4.2 The proairetic code

The proairetic code refers to any action that implies a further narrative action (Barthes 1974: 19). In the TCSL classroom, the teacher’s teaching action can be taken as a proairetic code. Adhering to the law of second-language acquisition, this action should also be performed in sequence. The first is the sense stage, which means that language materials such as audio or visual materials are used to raise students’ awareness and interest. The second is the cognitive stage. With the help of the teacher’s explanation, students move from the surface of the language material to understanding its meaning, grammar rules, and usage. The third is the consolidation stage. This stage can’t leave the teacher’s organization of review and exercise. Students internalize the knowledge and begin to apply it under the teacher’s training. The final one is the application stage. A communication environment is created by the teacher to simulate actual communication (Liu 2000: 339–340). When we study these action codes in the TCSL classroom, we need to follow the sequence of these actions. Though the general direction of the teacher’s every step is almost fixed, by adopting various teaching methods the action of the teacher could also attract the students’ interest and make students curious about the following actions.

4.3 The semantic code

After having discussed two kinds of important codes in the TCSL classroom, it was possible to recognize that either the hermeneutic code or the proairetic code runs through the basic steps of general TCSL classrooms and aims to attract students’ attention by means of creating mystery. Thus, we could deem that these two codes serve as support for the framework of the TCSL classroom. However, just as a successful text is based on delicate plot design and lively characters, a good class not only depends on its framework, but also lies in its vivid details. And characteristics of teachers usually lie in their different usages of semantic codes. Literally, the semantic code suggests a particular and often additional meaning by means of connotation. In the TCSL classroom, we often limit the range of connotation in classroom discourse, especially the teacher’s speech. As the flesh and blood in the class, the trace of semantic code in fact could be found in more than one aspect of the TCSL classroom, such as teaching aids and nonverbal signs of teachers.

Gesturing is a vital part of all communication and is an important part of language learning (Foraker 2011: 279–292). Using hands to depict things for others iconically is believed to be an important communicative activity among speakers from all cultural and linguistic backgrounds (Kita 2009: 145–167). In the TCSL classroom, vital importance is attached to gestures. As Good et al. (1993: 81–83) argued, a multilingual classroom is an ideal setting for gesturing since sign language can be taken as a common language for all students and teachers. Besides, gesturing offers children unlimited opportunities for language expression (Goldin-Meadow 2007: 741–745; Toth 2009: 85–95). For one thing, gestures can build a bridge between speakers with different backgrounds. For another, gestures could present students iconic images through signing, and these iconic images are set with special meanings, which can be easily remembered by students. Gestures in the TCSL classroom can be classified into two types: teaching gestures and gestures for classroom management.

In terms of teaching gestures, one typical example is to use gestures to teach the four Chinese tones. Since most languages don’t include such complicated tones as Chinese does, learning the four Chinese tones is listed as one of biggest problems foreign students may face. In general, foreign learners have difficulty in telling the difference between the second tone and the third one and in pronouncing them correctly. To solve this problem, the most common measure taken by TCSL teachers is to use four kinds of gestures to represent the four tones, as shown in the following pictures (see Figure 1). The TCSL teacher uses fingers to imitate the shapes of four tones. The connotation of the gestures is not only instruction in the shifting tones, but also the iconic images left in students’ mind, which shares the same status with the four Chinese tones.

Figure 1 
							Four gestures representing four tones (based on Zhang 2006: 375)
Figure 1

Four gestures representing four tones (based on Zhang 2006: 375)

In addition to supporting a positive classroom culture, sign language can also support redirection as a classroom management technique. Brereton (2010: 92–97) offered one example of the effectiveness of signing as a redirection strategy. Brereton described a teacher who was able to redirect a child by signing “Stop! Get down please!” and give a lesson to others at the same time. In this example, students and teachers were able to communicate and interact positively with one another without disrupting the lesson.

As discussed above, nonverbal languages, especially gestures, are full of inherent connotation, which has a fundamental influence both on Chinese teaching and classroom management. As a famous psychologist, Albert Mehrabian (1981: 76–77) said, “Total liking= 7% verbal liking + 38% vocal liking + 55% facial liking.” Thus, the effect of nonverbal expression is obviously greatest.

4.4 The symbolic code

The symbolic code is a way of extending the meanings of semantic codes which arises for the representation of the theme (Barthes 1974: 18–20). Though the goal of one TCSL lesson will not be displayed in the same way as with the text, it is easy to judge whether the teacher centers the whole lesson on solving difficult and important points, whether the set of the teacher’s semantic codes helps students to absorb knowledge, and whether the output of the students indicates the accomplishment of the teaching goal.

4.5 The cultural code

Culture is the abstract representation of a region, an ethnic group, and a country (Barthes 1974: 205). Chinese culture runs through a long history. Chinese diet habits, traditional festivals, garment wearing, and so on all convey the connotation of Chinese culture. Thus, apart from regular language teaching, cultural transmission is also a major task for the TCSL teacher. The shortage of cultural codes leads to monotony in a lesson, which further discourages the learning enthusiasm of students. If things go on in this manner, this will also deepen the contradictions between the teacher and the students in the crosscultural communication. In contrast, the introduction of Chinese culture can eliminate many difficulties in the process of Chinese learning, and improve learning efficiency. In the TCSL classroom, cultural codes refer to the cultural background knowledge which helps language learners to deepen what they have learned, and students’ related knowledge reserve decides their interpretation of cultural codes transmitted in the classroom.

5 Construction of a plural teaching model

Since we have analyzed the TCSL classroom in a semiotic way, a new teaching model is expected to be constructed in a further step. The word “plural” appeared in one of Barthes’s books ImageMusicText. In this book, Barthes (1977: 159) pointed out that “the plural of the text depends, that is, not on the ambiguity of its contents but on what might be called the stereographic plurality of its weave of signifiers.” In his opinion, plural texture is the core to dividing text from work. Thus, we borrow Barthes’s word “plural” to name a new kind of teaching mode in the TCSL classroom. A plural teaching model means the tendency that frees the classroom from closeness and redefines the teaching process of knowledge as a process of production instead of a result.

Building a plural teaching model in the TCSL classroom cannot be accomplished without the joint force of teaching atmosphere, teaching content, and teaching methods. Thus, the following sections will discuss the relationship between the teacher and the students, the plurality of teaching content, and semiotic teaching methods.

However, the theoretical analysis still lacks a little persuasion. Thus, this paper deepens its theoretical analysis by conducting case analyses as supporting evidence. In this study, participants came from two university classes. One class consisted of a teacher and 12 students and the other one consisted of a teacher and 6 students. To rule out other interference factors and ensure the reliability of data, all students shared the same level of Chinese proficiency and cognitive ability, with an average age of 20. At the same time, these students were arranged in almost the same small size of class.

Additionally, since the whole research needs the support of a negative and positive example. The choice of two teachers is of vital importance. In this research, Miss Yang, a TCSL teacher from Beijing Foreign Language and Culture University is selected as a positive example. In contrast, the other teacher, Miss Li, serves as a negative example (both aliases here). With the support of the analysis and contrast on two teaching cases, the previous theoretical conclusions can be verified in practice. The combination of the theoretical analysis and case studies makes the construction of new plural teaching model more convincing. The data for this study is made up of transcriptions of the audio-recorded classes (See Appendix for a sample). In addition, because the purpose of this thesis is to explore the TCSL classroom from a semiotic perspective, all details including the teachers’ nonverbal signs were recorded and transcribed elaborately. And the following transcription notations were used (see Tsui 1994: xvii, Wang 2014: 275).

Table 1

Transcription notations

Notations Meanings
T Teacher
S1 Identified student (Student 1)
Ss Several or all students simultaneously Low-rising intonation, suggesting continuation
, Low-rising intonation, suggesting continuation
. Falling (Final) intonation
? Rising intonation, not necessarily a question
! Animated or emphatic tone
- Short un-timed pause within an utterance
Utterance omitted
((pause)) Long un-timed pause within an utterance
(( )) Description of nonverbal elements in the conversation, e.g. ((laugh))
( ) Doubtful transcription or indecipherable part of the conversation
((Nomi)) Nominating a single student
[ Point of overlap onset
] Point of overlap termination
{ } English translation of Pinyin

5.1 Democratic communication between the teacher and students

In the history of Western education, the central role of the teacher once took the dominant position for a long time. Then, the student-oriented theory freed students from their passive position. However, ignoring the role of either the teacher or the students goes to extremes. To realize the plurality in the TCSL classroom, a democratic relationship must be built, which means the teacher and students play different roles but share equal position in class.

According to Barthes, “the birth of readers must be at the cost of the death of the author.” If readers want to participate in the text, they must get rid of the author’s influence (Barthes 1977: 148). Likewise, the birth of active students in the TCSL classroom must be at the cost of the authority of teachers. That is to say, if we expect that the TCSL classroom can achieve the goal of free exchange in culture and language and want to highlight the importance of language activity and the status of students, it is necessary to break the absolute authority of the teacher in interpreting textual meaning. Only in this way can foreign students have freedom to display their initiative in language learning.

Apart from the change in the role of the teacher, the students’ role has to be changed as well. In the traditional way, students are consumers of knowledge. The way we interpret our own language or culture sometimes is conventional. Thus, it is time for learners to question and think about the plural meanings of what they are learning instead of taking it for granted. Just as Barthes (1977: 162) puts it: “The text requires that one try to abolish (or at the very least to diminish) the distance between writing and reading, in no way by intensifying the projection of the reader into the work but by joining them in a single signifying practice.” By means of free learning, students can narrow the distance between their own interpretation and learning. Furthermore, the distance between the teacher and students can be narrowed to the same role of being participants in the TCSL classroom, which removes the feeling of separation and transcends the barrier caused by different languages. To prove this further, more details will be explained in two cases as follows.

5.1.1 In Miss Yang’s class

Analyzing the classroom video, we can easily notice that the whole class atmosphere of Miss Yang’s class is active. And the relationship between the teacher and students is democratic. Miss Yang plays the role of instructor while students demonstrate their subjective initiative under her instruction. Besides this, the students acquire the knowledge with the help of Miss Yang’s inspiration rather than simply through answering her questions, which is the reason why we can spot some details that further reveal the friendly relationship between the teacher and students.

T: “Zhèng hǎo”, kàn yi kàn lǎo shī de yī fu, hé shì, féi [bù féi]? {“Be suitable”. Look at my dress today. It is suitable. Is it too big?}

Ss:                 [Bù féi]. {Not too big.}

T: Yě bú shòu, cháng [bé cháng]? (NV) {Not too small, either. Is it too long?}

Ss:         [Bù cháng]. {Not too long.}

T: Yě bú duǎn, [zhè jiàn yī fu - lǎo shī chuān zhènghǎo]. Zài shuō yí biàn. {Not too short, either. This dress-is just suitable for me. Say it again.}

Ss:     [Zhè jiàn yī fu lǎo shī chuān zhèng hǎo]. {This dress is just suitable for theteacher.}

For example, this is evident when Miss Yang teaches students the usage of a new Chinese phrase “zhenghao,” which can mean ‘being just suitable’. Miss Yang shows students her own dress today. Observing the clothing Miss Yang is wearing, the students can easily utilize their imagination to guess the meaning of this phrase. At the same time, Miss Yang still uses various questions to inspire all the students to approach the true meaning. Under particular circumstances, both the teacher and students arrive at the acquirement of knowledge together.

In a word, in order to create a utopia in the TCSL classroom and create the freedom of cultural exchange, the relationship among the teacher, teaching content, and students must be changed. It is necessary that the linear traditional model be transformed into the triangle model in which knowledge transmission is achieved by mutual inspiration between the teacher and students rather than in the traditional form of questioning and answering.

5.1.2 In Miss Li’s class

Compared with Miss Yang’s class, the whole atmosphere in this class is relatively passive. Although Miss Li is also a nice teacher with a smile on her face, her role in the whole class is as the authority, since all students just follow her orders but never engage in communication with the teacher. Some students even show their unwillingness to answer questions.

T: Nǐ men yǒu shéi qù guò hongkong ma? Hongkong qù guò ma? {Have you ever been to Hong Kong? Visited Hong Kong?}

Ss: ( ).

T: Qù guò, èn, nà xiāng gǎng zài nǎ lǐ? {Yes. Well, where is Hong Kong?}

Ss: ( ).

T: Duì, zài zhōng guó nán bù, zài zhè lǐ ((points to the map in PPT )). Zhè shì xiāng gǎng, gēn wǒ yī qǐ dú, [xiāng gǎng]. {Right, in the south part of China. Here it is. ((points to the map in PPT)) This is Hong Kong. Read after me. Hong Kong.}

Ss:     [Xiāng gǎng]. {Hong Kong.}

T:     [Xiāng gǎng]. {Hong Kong.}

Ss:     [Xiāng gǎng]. {Hong Kong.}

T: Hěn hǎo. Xiāng gǎng de dōng tiān lěng bù lěng? Nǐ jué dé xiāng gǎng de dōng tiān lěng ma? ((Nomi)) {Very good. Is it cold in the winter in Hong Kong? What do you think? ((Nomi))}

Ss: ( ).

T: Yǒu diǎn lěng. ((pause)) Xiāng gǎng de xià tiān rè ma? Xiǎng yi xiǎng? Dà jiā xiǎng yi xiǎng nǐ jué de ne? {A little bit cold. ((pause)) Is it hot in the summer in Hong Kong? Think about it. What do you think?}

Ss: ( ).

T: Duì, xiāng gǎng de xià tiān hěn rè. Dàn shì lǎo shī bù jué de, lǎo shī jué de xià tiān bú shì hěn rè, xāng gǎng de dōng tiān bú shì hěn lěng. {Right. It is very hot in the summer in Hong Kong. But I don’t think so. I think the summer in Hong Kong is not very hot and its winter is not very cold.}

Through this example, we can notice that there are several times when few of the students respond to Miss Li’s question. However, she still follows her own pre-planned answers to continue her lesson despite the fact that students may hold different opinions. That is the reason why students just repeat what she said rather than participate in the class actively. In Miss Li’s class, she fails to build a democratic relationship between the teacher and the students, let alone mutual inspiration from each other.

5.2 The plurality in teaching content

There is no doubt that the teacher and students are two major roles in the TCSL classroom. However, the relationship and interaction between them can’t be built without the help of teaching content. As a shared knowledge channel, the teaching content provides a way for individuals inside the classroom to perceive. Communication between the teacher and students then takes place in the process of meaning construction on associated text. The teaching content here doesn’t merely refer to the book content, but to dynamic material which can test the teacher’s level of teaching. So how can we see whether the teaching content is equipped with plurality or not? Some standards can be adopted:

  1. Does the teacher just adapt some teaching content according to the needs or level of the students? This is a basic step that a good teacher needs to follow when he prepares the lesson in advance. The reconstructed teaching content is a precondition for the emerging of plurality.

  2. Is there a connection set up between the teaching content and teacher–student discourse? The plural teaching content not only includes the text processing and understanding from teachers, but also involves interpretations or opinions in the view of students.

5.2.1 In Miss Yang’s class

The teaching content prepared is equipped with open meanings. It not only arises from the content itself, but also depends on the performance of the teacher.

T: Zhè shì shànghǎi. Zài lái. Zhù yì a - dì’èr gè dì fang. Nǐ men yīng gāi rèn shi. ((shows students the picture)) Zhè shì nǎ’ér? {This is Shanghai. Pay attention - the second place. You should know it. ((shows students the picture)) Where is it?}

Ss:     Xī’ān. {Xi’an.}

T: ((laughs)) Zhī dào le. Zhè shì xī’ān zuì yǒu míng de jiào shén me? {((laughs)) That is right. This is the most famous place in Xi’an. What’s it called?}

Ss:     [Bīng mǎ yǒng]. {Terracotta warriors.}

T: Duì, [bīng mǎ yǒng]. Xī’ān yīng gāi zhī dào le ba. Zài nǎ’ér? ((pause)) Duì, shéi zhī dào? Shéi lái gěi wǒ zhǐ yí xià? Shéi lái zhǐ yí xià? Shéi zhī dào? {Yes, terracotta warriors. You should know Xi’an. Where is it? ((pause)) Who knows? Who can point at its position on the map? Who can? Who knows?}

((hands up))

T: ((Nomi)) Zhǎo yi zhǎo ha, bú yào zhǐ cuò le. Xiān zhǐ yi zhǐ xī’ān zài nǎ’ér? {((Nomi)) Look them up. Don’t point at the wrong position. First, point at its position with your finger.}

((points at the position of Xi’an))

T: Hǎo, gěi tóng xué men kàn yi kàn. [Duì] bú duì? {Good, show your classmates. Is that right?}

Ss:             [Duì]. {Yes.}

T:             [Duì], hěn hǎo. Xiè xie. Lái, bǎ bīng mǎ yǒng tiē zài páng biān. {Yes, very good. Thank you. Please pin the picture of the terracotta warriors beside the position of Xi’an.}

((S2 pins up the picture))

T: Zuǒ biān, xī’ān de zuǒ biān. Hěn hǎo, xiè xie. Shéi qù xī’ān lǚ xíng guò, kàn guò bīng mǎ yǒng? ((Nomi)) Jiè shào yí xià. {Left, on the left side of Xi’an. Very good, thank you. Who has been to Xi’an and seen the terracotta warriors before? ((Nomi)) Please share something with us.}

S2: Wǒ qù nián qù guò xī’ān kàn guò bīng mǎ yǒng. ( ) Wǒ hěn gǎn dòng, yīn wèi shì wǒ dì yī cì kàn guò zhè yàng de dōng xī. Zhēn de [hěn yǒu yì si]. {Last year, I visited Xi’an and saw terracotta warriors. ( ) I was touched because this was my first time to see such things. It was really interesting.}

T:             O, [hěn yǒu yì si]. Duì ma? Zhè gè xī’ān de bīng mǎ yǒng     [hé zhēn de rén yí yàng gāo]? (NV) {Well, it was interesting, wasn’t it? Were the terracotta warriors as high as real people? (NV)}

S2: Yǒu xiē [hé zhēn de rén yí yàng gāo]. Yǒu xiē [xiǎo]. {Some are as high as real people, some are smaller.}

T:                 [Xiǎo]? ((laughs)) {Smaller? ((laughs))}

S2: Duì, duì. Yǒu de shì. ( ) {Yes. Yes. Some are. ( )}

The main topic of this lesson is about travelling plans, so Miss Yang tries to build the connection between the teaching content and the students by talking about some famous places. Based on some details in the video, it is obvious that before this class, Miss Yang already knew which cities some students may have visited, and then printed the photos to prompt communication with relevant students. That is to say, Miss Yang succeeds in constructing the connection between the students’ own experience and the teaching content. In fact, the content of courses should be like a text which can be compared to a tangled ball of thread. Students can unravel the narrative from a different angle, by pulling a different thread if they like and create an entirely different meaning. If the TCSL classroom can be performed in this way, the plurality can come into being in the process of teaching and learning. Both students and the teacher can generate feelings of pleasure.

5.2.2 In Miss Li’s class

Compared from Miss Yang’s adaptation to the teaching content, Miss Li is the follower of the book. We refer to the previous section of transcription as an example. For one thing, Miss Yang fails to have prepared knowledge of the students’ related experience in advance. Thus, some of her questions can’t get the corresponding answer. For another, even in the circumstance that the students can’t answer her questions, Miss Li still proceeds with her lesson. This is the root cause of students’ lack of interest in the teaching content.

5.3 Semiotic teaching methods

In the previous sections, we studied the feasibility of taking the TCSL classroom as a semiotic text and further analyzed special code meanings in the TCSL classroom. Proceeding from this new research perspective, we can find that the quality of questions raised by the teacher, the whole teaching procedure, or even the teacher’s nonverbal signs are all equipped with semiotic meanings and accompany the teaching content itself in the process of transmission. As Barthes said:

Each code is one of the forces that can take over the text, one of the voices out of which the text is woven. Alongside each utterance, one might say that off-stage voices can he heard: they are the codes: in their interweaving, these voices de-originated the utterance: the convergence of the voices of the codes becomes writing a stereographic space where the five codes, the five voices, intersect: the Voice of Empirics (the proairetisms), the Voice of the Person (the semes), the Voice of Science (the cultural codes), the Voice of the Truth (the hermenertisms), the Voice of Symbol. (1974: 21)

Thus, whether the TCSL teacher can pay attention to semiotic nature in the teaching process can greatly affect the effectiveness of the TCSL class. To prove its effect, the semiotic teaching method in Miss Yang’s class is examined as a positive example.

On a macro level, we can easily spot Miss Yang’s symbolic code – the traveling plan which serves as the theme and repeats several times in the whole class. Centering on this theme, Miss Yang first asked students about their previous trips to introduce two main cities talked about in the text: Harbin and Sanya. And then, Miss Yang explained the meanings and usages of their new words as well as helping students understand the whole text. Next, she organized different kinds of activities for the students to practice which were beneficial for knowledge internalization. Finally, Miss Yang broke the boundary of the teaching content and encouraged students to give others advice on traveling by applying the knowledge learned that day. Not only does this series of teaching steps obey the law of second-language acquisition, but each step also motivates the students to keep attracted to and interested in the whole process.

On a micro level, Miss Yang paid much attention to cultural codes and semantic codes in the TCSL classroom. For example, when she taught the students some new words, she was good at using nonverbal signs to correct students’ pronunciation (see Figure 2). Besides this, in terms of classroom management, Miss Yang also raised her right hand to encourage students to answer questions actively (see Figure 3). Through giving these nonverbal signs the connotation, a new way of communication was built between the teacher and the students. Apart from the semantic codes, we can also easily spot many cultural codes in Miss Yang’s class. For example, some objects of interest like the terracotta warriors, and some local culture like the delicious food in Tianjin were all mentioned in the lesson. Although this cultural knowledge is not a core part of the lesson, it provided students with a good way to enrich their horizons and better understand the culture in China.

Figure 2 
							Miss Yang’s gesture shown to correct students’ pronunciation of the second tone
Figure 2

Miss Yang’s gesture shown to correct students’ pronunciation of the second tone

Figure 3 
							Miss Yang’s gesture shown to encourage students to raise their hands
Figure 3

Miss Yang’s gesture shown to encourage students to raise their hands

To sum up, in an effective TCSL classroom, five codes in the classroom interweave with each other to run through the whole lesson and each code has its plural meanings transmitted in the students’ process of learning, understanding, and interpreting. In this way, our focus changes from the practical skills and functions in the teaching procedure to studies on the semiotic meanings of the TCSL classroom, which are also sources of information for students and have a subtle influence on the effectiveness of students’ learning.

6 Conclusion

Based on Barthes’s textual analysis theory and in combination with theoretical analysis and case study, several conclusions are drawn as follows.

Firstly, with the help of Roland Barthes’s semiotic thought, we find that there are some common places in Barthes’s text analysis theory and the TCSL classroom. On the one hand, they both involve three elements: the author, text, and readers in Barthes’s text and the teacher, students, and teaching content in the classroom. On the other hand, both of them pay attention to two aspects: language and culture. Through the detailed analysis, it turns out that the TCSL classroom can be taken as a semiotic text.

Secondly, we find five codes do exist in the TCSL classroom. However, due to differences between the text and the classroom, while the core meanings of these five codes still stay the same, some new meanings emerge at the same time. To put it simply, hermeneutic codes, proairetic codes and symbolic codes construct the framework and the theme of the whole lesson. Additionally, semantic codes and cultural codes make up important details in the TCSL classroom, which include nonverbal signs, cultural background knowledge, and so on.

Thirdly, through absorbing the essence of Barthes’s textual analysis theory, a plural teaching mode can be constructed, which demands the democratic communication between the teacher and students, the plurality and openness of the teaching content, and the semiotic teaching method which brings the benefits of codes into full play. If we can apply this new teaching model in practice, positive influences can be witnessed on the effectiveness of students’ learning.

In a word, as a new attempt to combine Barthes’s analysis theory with the TCSL classroom, this paper not only enriches the academic achievements on both sides, but also gives the TCSL classroom some good implications: For a teacher, the teaching model needs changing. Different aspects, such as the teaching atmosphere, the teaching content and the teaching method should be improved. To a researcher, more semiotic meanings in the classroom are waiting to be explored in the future.

About the author

Yanhua Xu

Yanhua Xu (b. 1993) is a postgraduate at Nanjing Normal University. Her research interests include the semiotic theory of Roland Barthes and linguistics. Her publications include: “The further study on Saussure’s principle of arbitrariness” (2015), “Literature review on conceptual blending theory” (2017), “Polyphony: A dialogue between Barthes and Bakhtin” (2017).

Acknowledgements

This paper is supported by Postgraduate Research & Practice Innovation Program of Jiangsu Province in 2017. The project number is KYCX17_1031.

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Appendix: An example of transcription

T: Tóng xué men hǎo ! {Hello, class!}

Ss: Lǎo shī hǎo ! {Hello, teacher!}

Hǎo le, xiàn zài wǒ men kāi shǐshàng kè. Jīn tiān wǒ men yào xué xí de hé lǚ xíng yǒu guān xi. Dà jiā kàn dào lǎo shī de hēi bǎn shang yǒu yī zhāng shén me? {Now, let’s begin our class. Today, we are going to learn something about travelling. First, what can you see on the blackboard?}

Ss:   [Dì tú]. {A map.}

T:  Shén me [dì tú]? {What kind of map?}

T: Duì, [zhōng guó dì tú]. Nǐ men lái zhōng guó dà gài yǒu kuàī yī nián le ba. {Yes, it’s the map of China. You have already been in China for about one year. Am I right?}

Ss: En. {Yes.}

T: Wǒ xiǎng bù shǎo tóng xué yīng gāi yǐ jīng qù le hěn duō dì fāng lǚ xíng guò le. [Shì] bú shì? {I believe that many of you must have travelled many places. Right?}

Ss:      [Shì]. {Yes.}

T: Xiān kǎo kǎo nǐ men, kàn kàn nǐ men zhī bù zhī dào yī xiē zhōng guó hěn yǒu míng de dì fāng. Hǎo, lǎo shī zhè yǒu yī xiē tú piàn. Xiàn zài wǒ gěi nǐ kàn yi kàn. Gào sù wǒ, kàn kàn nǐ rèn shi bú rèn shi shì nǎ’ér? ((shows students the picture)) Dì yī gè dì fāng - Zhè shì nǐ’ér? {OK, let’s see whether you can recognize some famous places in China. I have some pictures on hand. After showing you these pictures, can you tell me what place it is? ((shows students the picture)) The first place. Where is it?}

Ss:    [Shànghǎi]. {Shanghai.}

T: ((laugh)) [Shànghǎi] zài nǎ’ér? Zài? ((Nomi)) {((laugh)) Where is Shanghai? In? ((Nomi))}

S1: Zhè gè dì fāng. ((points at the position of Shanghai in the map)) {In this place. ((points at the position of Shanghai on the map))}

T: Kàn dào le ma? [Duì] bú duì? {Did you see? Is he right?}

Ss:     [Duì]. {Yes.}

T:     [Duì], hěn hǎo. Qǐng nǐ bǎ zhè zhāng tú piàn tiē zài shànghǎi de pàng biān. ((S1 pins up the picture)) Hǎo, xiè xie. Shànghǎi, yǒu tóng xuè qù shàng hǎi lǚ xíng guò ma? Shéi qù guò? ((Raises her right hand to encourage students to raise their hands)) Shànghǎi yǒu shén me yǒu míng de dí fāng? Jiè shào yí xià. {Yes, very good. Please pin this picture beside the position of Shanghai. ((S1 pins up the picture)) Good, thank you. Have any of you ever been to Shanghai? Who has travelled there before? ((raises her right hand to encourage students to raise their hands)) Are there any places of interest in Shanghai? Please introduce them.}

S1: Wǒ méi yǒu qù guò nà’ér de míng shèng gǔ jì, dàn wǒ qù guò nà’ér de bó wù guǎn. Tā men de bó wù guǎn tǐng yǒu yì si de. Tā men de shū fǎ tè bié hǎo. Tā men yǒu cǎo shū, fēi cháng piào liang. {I’ve never travelled to places of interest in Shanghai, but I’ve visited the museum there. It is very interesting. The calligraphy is wonderful, such as cursive script. Very pretty.}

T: Zhè shì shànghǎi. Zài lái. Zhù yì a - dì’èr gè dì fang. Nǐ men yīng gāi rèn shi. ((shows students the picture)) Zhè shì na’ér? {This is Shanghai. Pay attention - the second place. You should know it. ((shows students the picture)) Where is it?}

Ss: Xī’ān. {Xi’an.}

T: ((laughs)) Zhī dào le. Zhè shì xī’ān zuì yǒu míng de jiào shén me? {((laughs)) That is right. This is the most famous place in Xi’an. What’s it called?}

Ss:   [Bīng mǐ yǒng]. {Terracotta warriors.}

T: Duì, [bīng mǎ yǒng]. xī’ān yīng gāi zhī dào le ba. Zài na’ér? ((pause)) Duì, shéi zhī dào? Shéi lái gěi wǒ zhǐ yí xià? Shéi lái zhǐ yí xià? Shéi zhī dào? {Yes, terracotta warriors. You should know Xi’an. Where is it? ((pause)) Who knows? Who can point to its position on the map? Who can? Who knows?}

((hands up))

T: ((Nomi)) Zhǎo yi zhǎo ha, bú yào zhǐ cuò le. Xiān zhǐ yi zhǐ xī’ān zài nǎ’ér? {((Nomi)) Look them up. Don’t point at the wrong position. First, point at its position with your finger.}

((points at the position of Xi’an))

T: Hǎo, gěi tóng xué men kàn yi kàn. [Duì] bú duì? {Good, show your classmates. Is that right?}

Ss:       [Duì]. {Yes.}

T:       [Duì], hěn hǎo. Xiè xie. Lái, bǎ bīng mǐ yǒng tiē zài páng biān. {Yes, very good. Thank you. Please pin the picture of the terracotta warriors beside the position of Xi’an.}

((S2 pins up the picture))

T: Zuǒ biān, xī’ān de zuǒ biān. Hěn hǎo, xiè xie. Shéi qù xī’ān lǚ xíng guò, kàn guò bīng mǎ yǒng? ((Nomi)) Jiè shào yí xià. {Left, on the left side of Xi’an. Very good, thank you. Who has been to Xi’an and seen the terracotta warriors before? ((Nomi)) Please share something with us.}

S2: Wǒ qù nián qù guò xī’ān kàn guò bīng mǎ yǒng. ( ) Wǒ hěn gǎn dòng, yīn wèi shì wǒ dì yī cì kàn guò zhè yàng de dōng xī. Zhēn de [hěn yǒu yì si]. {Last year, I visited Xi’an and saw terracotta warriors. ( ) I was touched because this was my first time to see such things. It was really interesting.}

T:     O, [hěn yǒu yì si]. Duì ma? Zhè gè xī’ān de bīng mǎ yǒng [hé zhēn de rén yí yàng gāo]? (NV) {Well, it was interesting, wasn’t it? Were the terracotta warriors as high as real people? (NV)}

S2:   Yǒu xiē[hé zhēn de rén yí yàng gāo]. Yǒu xiē [xiǎo]. {Some are as high as real people, some are smaller.}

T:4     [xiǎo]? ((laughs)) {Smaller? ((laughs))}

S2: Duì, duì. Yǒu de shì. ( ) {Yes. Yes. Some are. ( )}

T: Dì sān gè kàn kàn zhī dào bù zhī dào - Zhè shì nǎ ér? {Do you know the third place- where is it?}

Ss:   [Hā’ěr bǐn]. {Harbin.}

T: Duì, [hā’ěr bīn]. Wèi shén me zhī dào shì hā’ěr bīn - Zhè shì shén me? {Yes, Harbin. How do you know this is Harbin. What is it?}

Ss: Bīng dēng. {Ice lanterns.}

T: Duì le, hěn piào liang, shì bú shì? Chú le bīng dēng, wǒ hái yǒu ne. ((pause)) Kàn kàn, zhè shì shén me? {Right. Very pretty, isn’t it? Apart from ice lanterns, I have something else to show you. ((pause)) Look, what is it?}

Ss: [Bīng diāo]. {Ice sculptures.}

T: [Bīng diāo]. Duì le, hěn hǎo. Nà hā’ěr bīn zài nǎ er? ((pause)) ((Nomi)) Lái, zhǐ yi zhǐ. Yī dìng zhī dào. Duì. ((pause)) Zhǐ gěi tóng xué men kàn yi kàn hā’ěr bīn. {Ice sculptures. Right. Very good. So where is Harbin? ((pause)) ((Nomi)) Point at it. You must know. ((pause)) Show your classmates where Harbin is.}

((S3 points at the position of hā’ěr bin))

T: Duì, dà jiā kàn kàn, [duì] ma? {Right. Let’s see. Is he right?}

Ss:     [Duì]. {Yes.}

T:     [Duì] le, hěn hǎo. Lái, bāng wǒ tiē zài hā’ěr bīn páng biān. {Yes, very good. Please help me to pin two pictures beside the position of Harbin.}

((S3 pins up the picture))

T: Hǎo de, xiè xie. hā’ěr bīn de bīng dēng hé bīng diāo. Hā’ěr bīn shì yī gè shén me yàng de dì fāng? ((pause)) Zài zhōng guó de běi biān, suǒ yǐ tiān qì? {Good, thank you. Ice lanterns and sculptures of Harbin. What kind of place is Harbin? ((pause)) Which side of China does it located on? Thus, how about its weather?}

Ss: Hěn [lěng]. {Very cold.}

T:   [Lěng], shì ba? Zuì lěng de dì fāng. ((pause)) Zuì hòu yī gè dì fāng le, kàn kàn nǐ men zhī dào bù zhī dào? ((shows the picture)) Zhè shì nǎ’ér? {Cold, isn’t it? The coldest place. Let’s see whether you can recognize it or not. ((show the picture)) Where is it?}

T&Ss: [Sān yà]. {Sanya.}

T:    [Sān yà] zài hǎi nán de? - Zài hǎi nán de zuì nán biān. Dà jiā bāng wǒ zài dì tú shang zhǎo yi zhǎo. ((Nomi)) Lái zhǎo yi zhǎo - kě yǐ zhǎo dào sān yà zài nǎ ma? Shì shì kàn. {Where is Sanya located? - In the southernmost part of Hainan. Class, help me find Sanya on the map. ((Nomi)) Look it up - can you find where Sanya is? Have a try.}

((S4 looks for Sanya on the map))

T: Hǎi nán de zuì nán biān. Zhǎo dào le ma? {The southernmost part of Hainan. Have you found it?}

((S4 pins up the picture))

T: Duì le. Hǎo, xiè xie. Gāng cái wǒ men shuō hā’ěr bīn zài běi biān, suǒ yǐ tiān qì fēi cháng de - lěng. Nà me sān yà zěn me yàng? {Right. Well, thank you. We mentioned that Harbin was in the north just now, so the weather there was very-cold. Now, how about the weather of Sanya?}

Ss:    [Rè]. {Hot.}

T: Dāng rán hěn [rè], nán biān shì bú shì? Suǒ yǐ nǐ kàn sān yà hěn yǒu míng de fēng jǐng yǒu shén me? {Of course, very hot. In the south, right? Thus, what famous scenery is in Sanya?}

Ss:    [Rè]. {Hot.}

T: Dāng rán hěn [rè], nán biān shì bú shì? Suǒ yǐ nǐ kàn sān yà hěn yǒu míng de fēng jǐng yǒu shén me? {Of course, very hot. In the south, right? Thus, what famous scenery is in Sanya?}

Ss:  [Hǎi]. {The sea.}

T: Dà [hǎi], hái yǒu ne, hǎi biān? {The sea. Something else at the seaside?}

Ss: [Shā]. {Sand.}

T: [Shā] tān. Hái yǒu hěn yǒu míng de yē shù, [ye zi shù]. {The beach. There are also famous coconut trees.}

Ss:          [Yē zi shù]. { Coconut trees.}

T: Hǎo le, wǒ gěi le dà jiā zhè xiē dì fang, nà chú le zhè xiē dì fang, nǐ men hái qù nǎ lǚ xíng guò? Wǒ xiǎng nǐ men yī dìng hái qù le bié de dì fang, yǒu nǎ? ((pause)) Qù le nǎ? {Well, I show you so many places. Besides these, have you travelled to some other places? I think you must have travelled to other places, haven’t you? ((pause)) Where have you been?}

S1: Wǒ qù guò [chéng dōu]. {I have been to Chěngtu.}

T:    [Chéng dōu]. En, sì chuān. Wǒ men dōu zhī dào sì chuān hěn yǒu míng de yǒu sì chuān cài. Sì chuān cài hěn hǎo chī. Sì chuān cài hěn? {Chengtu. Well, Sichuan. As is known to us, Sichuan cuisine is famous there. It’s very delicious. Sichuan food is very?}

Ss:  [Là]. {Spicy.}

T: Hěn [là], nǐ [chī le] ma? ((Nomi)) {Very spicy. Did you eat some? ((Nomi))}

S1:    [Chī le]. {Yes.}

T: Nà nǐ hái jué de yǒu shén me tè bié de? {Is there something else which is special to you?}

S1: Wǒ jué de nà’ér de [dà fó] tǐng yǒu yì si de. {I think the Buddha there is rather interesting.}

T:  Duì, sì chuān yǒu [dà fó]. Nǐ men hái qù le nǎ? ((Nomi)) {That’s right. There are Buddhas in Sichuan. Somewhere else? ((Nomi))}

S5: Qù [gān sù]. Duì. {I’ve been to Gansu.}

T:  [Gān sù] de shén me dì fang? {Which place in Gansu?}

S5: Shì [lán zhōu]. {Lanzhou.}

T:    O, [lán zhōu]. Qù le [lán zhōu]. {Well, Lanzhou. You’ve been to Lanzhou.}

S5:    Duì, [lán zhōu]. {Yes, Lanzhou.}

T: Hěn piào liàng de chéng shì. Hǎo, lán zhōu. Hái yǒu bié de dì fang ma? ((Raises her right hand to encourage students to raise their hands)) ((pause)) Chéng dōu, lán zhōu. ((Nomi)) [Qù guò] nǎ? {It’s a pretty city. Good, Lanzhou. Somewhere else? ((Raises her right hand to encourage students to raise their hands)) ((pause)) Chengtu. Lanzhou. ((Nomi)) Where have you been?}

S4: [Qù guò] [tiān jīn]. {I have been to Tianjin.}

T:   [Tiān jīn], zài běi jīng de fù jìn, [duì] ma ? {Tianjin. It is near Beijing, isn’t it?}

S4:     [Duì], tīng shuō yī gè xiǎo shí jiù dào le. {Yes, I heard that it wǒuld take about one hour.}

T: Nǐ zài nà chī shén me la? {What did you eat there?}

S4: Wǒ zài nà dài qù le zì jǐ zuò de fàn. {I took some food cooked by myself.}

T: Duì. Tiān jīn de xiǎo chī hěn yǒu míng. Nǐ yīng gāi qù chī yi chī. Hǎo, wèn le wèn dà jiā de qíng kuàng. Jīn tiān wǒ men yào xué xí de jiù shì tán yi tán lǚ xíng jì huà. Hǎo, xiàn zài qǐng kàn hēi bǎn. ((points at the wǒrd)) [“Zhèng hǎo”]. {Tianjin food is very famous. You should have a try. Now, I already know something about you. What we’re going to learn today is to talk about your travelling plans. Now, please look at the blackboard. ((points at the word)) “Be suitable”.}

Ss:     [“Zhèng hǎo”]. {“Be suitable”.}

T: [“Jù tǐ”]. ((points at the word)) {“Specific”. ((points at the word))}

Ss: [“Jù tǐ”]. {“Specific”.}

T: [“Zài shuō”]. ((points at the word)) {“Moreover”. ((points at the word))}

Ss: [“Zài shuō”]. {“Moreover”.}

T:[“Bīng dēng”]. ((points at the word)) {“Ice lanterns”. ((points at the word))}

Ss: [“Bīng dēng”]. {“Ice lanterns”.}

T:[“Bīngdiāo”]. ((points at the word)) {“Ice sculptures”. ((points at the word))}

Ss: [“Bīngdiāo”]. {“Ice sculptures”.}

T: Hǎo de. ((Nomi)) {Good. ((Nomi))}

S6: “Zhèng hǎo, jù tǐ, zài shuo, bīng dēng, bīng diāo”. {“Be suitable, specific, moreover, ice lanterns, ice sculptures.”}

((Nomi))

S2: “Jí le, dǎn liàng, dōng yong, cóng lái, pà”. {“Extremely, courage, winter swimming, ever, afraid.”}

T: “Zhèng hǎo”, kàn yi kàn lǎo shī de yī fu, hé shì, féi [bù féi]? {“Be suitable”. Look at my dress today. It is suitable. Is it too big?}

Ss: [Bù féi]. {Not too big.}

T: Yé bú shòu, cháng [bù cháng]? (NV) {Not too small, either. Is it too long?}

Ss:  [Bù cháng]. {Not too long.}

T: Yé bù duǎn, [zhè jiàn yī fu - lǎo shī chuān zhèng – hǎo]. Zài shuō yi biàn. {Not too short, either. This dress-is just suitable for me. Say it again.}

Ss:  [Zhè jiàn yī fu lǎo shī chuān zhèng hǎo]. {This dress is just suitable for the teacher.}

T: Xiàn zài yǒu yī gè wèn tí. Nǐ xiǎng qù wèn mài kè. Ā ya, hěn zháo jí. Nǐ xiǎng wèn mài kè. Jiù zài zhè gè shí hou, nǐ hén xiǎng wèn, hěn xū yào tā de shí hou, mài kè lái le. Mài kè nǐ? {Now, there is one question. You want to ask Mike. It’s really urgent. You want to ask Mike. At this very time, Mike comes. You can say Mike, you?}

Ss:  [Lái de zhèng hǎo]. {You come at the right time.}

T: Duì le, hěn hǎo, zài shuō yī biàn. {Right. Very good. Please say it again.}

Ss : Mài kè, nǐ [lái de zhèng hǎo]. {Mike, you come at the right time.}

T: “Jù tǐ”, gāng cái yǒu tóng xué shuō qù shàng hǎi lǚ xíng guò. ((Nomi)) Shàng hǎi [hǎo wán] ma? {“Specific”. Just now, someone said you had travelled Shanghai. ((Nomi)) Is Shanghai interesting?}

S1: Tè bié [hǎo wán]. (Very interesting.}

T:  [Hǎo wán], zěn me hǎo wán ne? Qǐng nǐ shuō jù tǐ yī diǎn. (Interesting, isn’t it? Can you say something specific?}

S1: Xīn tiān dì yòu hěn hǎo de fàn guǎn. {There are good restaurants in Shanghai Xintiandi.}

T: Hǎo, hěn hǎo, jiù shì zhè yàng, shuō jù tǐ yī diǎn. Gēn wǒ shuō yī biàn, [“nǐ shuō jù tǐ yī diǎn”]. {Good, very good. That’s it. Say something specific. Repeat after me. “Please say something specific.”}

Ss:  [“Nǐ shuō jù tǐ yī diǎn”]. {“Please say something specific.”}

T: “Cóng lái”, gāng cái wǒ men shuō dào le hā’ěr bīn, dà jiā shuo le, hā’ěr bīn de tiān qì shì fēi cháng lěng de, zěn me lěng, nǐ men zhī dào ma? Nà me, zuì lěng de shí hou qì wēn néng dào duō shǎo dù, nǐ men zhī dào ma? {“Ever”. You mentioned Harbin just now. We said it is very cold in Harbin. To which degree? Do you know?}

Ss: [Língxià]. (Below zero.}

T: Dāng rán shì[líng xià]. ((laughs)) {Of course, below zero. ((laughs))}

Ss:  [Sān shí jǐ dù]. {Minus 30 degrees.}

T: Duì, hěn lěng de, líng xià [sān shí duō dù]. Hǎo le, nà nǐ men qù guò nà me lěng de dì fāng ma? {Yes, very cold. Minus 30 degrees. Well, have you ever been to such a place as Harbin?}

Ss: Cóng lái méi yǒu. {Never.}

T: Qù guò ma? Méi qù guò, yí cì yě[méi qù guò], wǒ ((pause)) {Have you? Never. Not once. I((pause))}

Ss:  Cóng lái [méi qù guò]. {Never been to.}

T: [Nà me]. {Such.}

Ss: [Nà me]lěng de dì fang. {Such cold places.}

T: Sān yà zuì lěng de shí hòu, dōng tiān dà gài yī yuè, yī yuè de píng jūn qì wēn èr shí jǐ dù, zuì gāo de shí hòu, yǒu de shí hòu zuì rè de shí hòu néng dào san shí ji dù ne, fei cháng nuǎn huo. Nà me, nǐ men yǒu guò guò zhè me nuǎn huo de dōng tiān ma? ((Nomi)) Zài hán guó yǒu ma? {The coldest month in Sanya is around January. The average temperature in January is about 20 degrees. The highest temperature can reach 30 degrees. It is very warm. So have you been to such places whose winter is so warm? ((Nomi)) Is there such a place in South Korea?}

S7:  [Méi yǒu]. {No.}

T: Wǒ jué dé[méi yǒu], nà me wǒ? {I think so. Thus, we can say I?}

S7:   [Cóng lái méi guò - nà me nuǎn huo de dōng tiān]. {Never spent such a warm winter.}

T:   Wǒ [cóng lái méi guò guò nà me nuǎn huo de dōng tiān]. Qǐng dà jiā zhù yì yí xià, cóng “lái” - “méi guò guò”, “méi qù guò”, tā hòu miàn shì shén me cí? {I’ve never spent such a warm winter. Pay attention, class. “ever”- “never spent”, “never been”. What kind of word after it?”}

Ss:   [Fǒu dìng cí]. {Negative words.}

T: Duì le, [fǒu dìng cí]. Yǐ qián de shí jiān shì “méi”, rú guǒ shì yǐ hòu de shí jiān kě yǐ shì “bù”, hòu biān yī dìng shì “méi” huò zhě “bù”. {Yes, negative words. If it refers to previous time, we should add the Chinese character “mei” behind it. If it refers to future time, we should add the Chinese character “bu”. It must be “mei” or “bu” behind it.}

T: “Shài”, qǐng dà jiā kàn yí xià tā zài zuò shén me? {“Bask”. Please look at what he is doing now?}

Ss: Tài yang. {Sun.}

T: Wǒ men hàn yǔ yào shuō “[shài tài yang]”. {In Chinese, we should say “bask in the sun”.}

Ss:     [Shài tài yang]. {Bask in the sun.}

T: Nà qǐng wèn nǐ men [xǐ huān] zài hǎi biān shài tài yáng ma? {So do you like basking in the sun?}

Ss:     [Xǐ huān]. {Yes.}

T:    ((Nomi)) [Xǐ huān] ma? { ((Nomi)) Do you like it?}

S8:     [Xǐ huān]. {Yes.}

T:    [Xi huan] zuò shén me? [Wǒ]- {What do you like? I - }

S8:             [Wǒ] xǐ huān. {I like.}

T: [Zài] – {In - .}

S8: [Zài] hǎi biān shài tài yang {Basking in the sun at the seaside.}

T: Nǚ tóng xué ne? ((Nomi)) [Xǐ huān] ma? {How about our girl students? ((Nomi)) Do you like it?}

S7:         Wǒ bù [xǐ huān] zài hǎi biān shài tài yang. {I don’t like basking in thesun at the seaside.}

T: Wèi shén me? {Why?}

S7: Pí fū hēi. {My skin will turn dark.}

T: [Wǒ pà] - {I am afraid - }

S7: [Wǒ pà] hēi. {I am afraid of darkness.}

T: [Wǒ pà shài hēi]. {I am afraid sunburn.}

S7: [Wǒ pà shài hēi]. {I am afraid sunburn.}

T: “Rè dài ”. Nǐ men [chī guò] rè dài shuǐ guǒ ma? {“tropic”. Have you eaten tropical fruit before?}

Ss:         [Chī guò]. {Yes, we have.}

T: Shén me yàng de shuǐ guǒ shì rè dài shuǐ guō? {What kind of fruit can be called tropical fruit?}

Ss: Xiāng jiāo, [bō luó]. {Bananas, pineapples.}

T:     Duì, [bō luó] shì, wǒ gěi dà jiā dài lái le. ((shows the students the pineapple)) {Yes, pineapples are tropical fruit. I have brought one for you. ((shows the students the pineapple))}

Ss:         [Bō luó]. {A pineapple.}

T:     Duì le, [bō luó] shì yī zhǒng rè dài shuǐ guǒ. {Yes, pineapples are a kind of tropical fruit.}

S4: Lǎo shī, [zhēn de] hái shì jiǎ de? ((laughs)) {Teacher, is this pineapple authentic or fake? ((laughs))}

T:         [Zhēn de]. {It is authentic.}

S4: ((touches the pineapple)) Duì, shì zhēn de. ((laughs)) {((touches the pineapple)) Well, it’s authentic. ((laughs))}

T: Bō luó, hái yǒu. ((shows the students the mango)) {This is a pineapple. I have something else. ((shows the students the mango))}

Ss: Máng guǒ. {A mango.}

T: Xiàn zài zài běi jīng yě tǐng duō de, hěn xiāng, shì ba? ((passes the mango to the students)) {There are many mangoes in Beijing. Very fragrant, isn’t it? ((passes the mango to students))}

S4: Lǎo shī, wǒ zuì xǐ huān de. ( ) wǒ xiǎng chī ((laughs)) {Teacher, this is my favorite. ( ) I’d like to eat. ((laughs))}

T: Yī huì sòng gěi nǐ, xiū xī de shí hòu wǒ men jiù kě yǐ chī le, máng guǒ duì ba. {Give you one later. You can eat this mango at break.}

S4: Wǒ de huí dá zuì duō shì máng guǒ. {What I answered most is mango.}

T: Duì le, nà me sān yà yě yǒu hěn duō máng guǒ, rè dài shuǐ guǒ. Dāng rán hái yǒu hěn duō bié de rè dài shuǐ guǒ. Hǎo, nà xiàn zài qǐng tóng xué gào sù wǒ, nǐ [chī guò rè dài shuǐ guǒ] ma? ((Nomi)) {Well, there are many mangoes in Sanya, tropical fruit. Of course, there are many other fruits. Now, I want you to tell me whether you’ve eaten tropical fruit before. ((Nomi))}

S9:                 Chī guò, wǒ [chī guò rè dài de shuǐ guǒ]. {Yes, I’ve eaten tropical fruit before.}

T:         Hǎo le, zhè shì wǒ men jīn tiān de shēng cí, yī qǐ kàn hēi bǎn zài lái yī biàn. [“Zhèng hǎo”]. {Well, these are today’s new words. Look at the blackboard together and read them again. “Be suitable”.}

Ss: [“Zhèng hǎo”], “jù ti”, “zài shuo” … {“Be suitable”, “specific”, “moreover” …}

T: Nà jīn tiān wǒ men yào tán lǚ xíng. Bǎ nǐ men de shū qǐng xiān guān shang. Xiān tīng wǒ shuō: zhè shì mǎ lì, zhè shì mài kè. ((shows the students two cards)) “ - Mǎ lì, kuài fàng hán jiǎ le, nǐ yǒu shén me dǎ suàn? - Wǒ xiǎng qù wài dì lǚ xíng. - Xiǎng hǎo qù nǎ le ma? - Hái méi ne, nǐ lái de zhèng hǎo, nǐ shuō qù nǎ hǎo? - Yào wǒ shuō jiù qù hā’ěr bīn. - Hā’ěr bīn bú shì hěn lěng ma? - Duì ya, jiù shì yào qù hěn lěng de dì fang. -Wèi shí me, nǐ shuō jù tǐ yī diǎn? - Hā’ěr bīn zài zhōng guó de dōng běi, nà lǐ zuì lěng de shí hou néng dào líng xià sān shí jǐ dù, zài shuō nà’er de bīng dēng, bīng diāo měi jí le. Rú guǒ nǐ yǒu dǎn liàng, hái kě yǐ shì shì d–ng yǒng. - En, tīng qǐ lái tǐng bú cuò de.” …Gāng cái tán huà de liǎng gè rén shì shéi ya? {So today we are going to talk about travelling. Close your books and listen to me first: This is Mary. This is Mike. ((shows students two cards)) “-Mary, winter vocation is coming. What’s your plan? - I want to travel. -Have you already thought of some place? - Not yet. You come at the right time. What do you think? - I advise you to go to Harbin. - Harbin is very cold, isn’t it? - Yes, it is. - Why? Can you say something specific? - Harbin is located in the northwest of China. The lowest temperature there can reach minus 30 degrees. Besides, ice lanterns and sculptures in Harbin are very pretty. If you have the courage, you can even try the winter swimming there. – En, that sounds nice.” … Who are these two people in the conversation?}

Ss: [Mài kè hé mǎ lì]. {Mike and Mary.}

T:  [Mài kè hé mǎ lì], tā men zài tán shén me? {Mike and Mary. What are they talking about?}

Ss: [Lǚ xíng]. {Travelling.}

T: [Lǚ xíng] de jì huá,shéi [xiǎng qù lǚ xíng]. {The travelling plan. Who wants to go travelling?}

Ss:     Mǎ lì [xiǎng qù lǚ xíng]. {Mary wants to travel.}

T: Tán huà lǐ miàn tā men shuō dào le jǐ [gè dì fāng]? {How many places are mentioned inthat conversation?}

Ss:     Liǎng [gè dì fang]. {Two places.}

T: Shì shén me dì fāng? {Which places?}

Ss: Hā’ěr bīn hái yǒu sān yà. {Harbin and Sanya.}

T: Hǎo le, xiàn zài qǐng dà jiā dǎ kāi shū, xiān gēn wǒ niàn yí biàn kè wén, niàn de shí hou zhù yì fā yīn. wǒ niàn yí jù, nǐ men gēn wǒ niàn yí jù. [“Mǎ lì, kuài fàng hán jiǎ le”]. {Well, now, let’s open our books. First read the text after me. Pay attention to your pronunciation while reading. Sentence by sentence. “Mary, the winter vacation is coming.”

Ss:     [“Mǎ lì kuài fàng hán jiǎ le”]. {“Mary, the winter vocation is coming.”}

T: [“Nǐ yǒu shén me dǎ suàn”]. {“What’s your plan?”}

Ss: [“Nǐ yǒu shén me dǎ suàn”]. {“What’s your plan?”}

T: Hǎo, wǒ men xiān xué xí zhè dì yī bù fen, gào sù wǒ mǎ lì yǒu shén me jì hua? {Well, let’s first learn this first part. Can you tell me what Mary’s plan it is?}

Ss:   [Xiǎng qù wài dì]. {She wants to travel.}

((Nomi))

S10: Tā [xiǎng qù wài dì] lǚ hίng,dàn shì tā bù zhī dào qù na hao. {She wants to travel, but she doesn’t have a good idea.}

T: Tā xiǎng hǎo qù shén me dì fang le ma? {Does she already know where to go?}

Ss: Hái méi yǒu. {Not yet.}

T: Duì, mài kè yǒu shén me jiàn yì? {Yes, so what’s Mike’s suggestion?}

Ss: Mài kè shuō kè yǐ qù haā’ěr bin. {Mike said she could go to Harbin.}

T: Duì, nà hā’ěr bīn [lěng] bù lěng? ((Nomi)) {That’s right, so, is Harbin cold? ((Nomi))}

S11:     Hěn [lěng]. {Very cold.}

T: Nà mài kè wèi shén me yào jiàn yì qù [hā’ěr bīn]? {So why does Mike suggest going to Harbin?}

Ss:             [Hā’ěr bīn] de bīng dēng, bīng diāo, měi jí le. {Because ice lanterns and sculptures in Harbin are very pretty.}

T: Zhè shì yī gè, hái yǒu ne? Wèi shén me jiàn yì qù hā’ěr bīn? ((Nomi)) {This is one reason. Something else? Why does he suggest going to Harbin? ((Nomi))}

S7: Yīn wéi tā shuō, tā yǒu dǎn liàng hái kě yǐ qù yóu yǒng. {Because he said he had the courage to swim.}

T: Hái yǒu ne? ((Nomi)) {Something else? ((Nomi))}

S12: Rú guǒ tā qù hā’ěr bīn, jiù zhī dào shén me shì zhēn zhèng de dōng tiān. {If he goes to Harbin, he will know what a real winter is.}

T: Zhè lǐ hái yǒu jǐ gè zhòng yào de jù zi wǒ men xū yào xué xí, wǒ men zěn me lái shuō. {Here are some important sentences to learn as well. How can we say it?}

T: Gāng cái wǒ men liàn xí le kè wén hé jǐ gè zhòng yào de jù zi, xià biān hái shì yí yàng, qǐng dà jiā bú yào kàn shū, lái kàn zhè. ((points at the ppt)) Wǒ men yī qǐ lái bǎ zhè duàn kè wén shuō yí biàn, wǒ gěi nǐ men yī xiē cí. {We practised the text and several key sentences just now. Likewise, please don’t look at your textbook and look here. ((points at the PPT)) Let’s retell this paragraph together with some key words listed for you.}

T: Hǎo, jiù shì zhè yí duàn, xiàn zài liǎng gè tóng xué liǎng gè tóng xué lián qǐ lái shuō yí biàn. {Well, that’s it. Now, please practice this paragraph in pairs.}

((pair exercise))

T: ((applauds)) Hǎo le, nà wǒ men kè wén yǐ jīng liàn xí le hěn duō biàn le, zhè xiē shì wǒ men zhǔ yào de jù zi. Nǐ kě yǐ yòng tā lái biǎo dá nǐ de jiàn yì, yě kě yǐ yòng lái wèn bié rén de yì jiàn. Xià biān, wǒ xiǎng ràng nǐ men zì jǐ shāng liàng gè lǚ xíng jì huà, yí gè tóng xué xiǎng qù lǚ xíng le, dàn shì bù zhī dào qù nǎ hǎo, nà me wǒ men gāng cái shuō le hěn duō dì fang, chú le zhè xiē, nǐ qù guò de yě kě yǐ gěi tā jiàn yì. {((applauds)) Well, we have practised the text many times. These are key sentences. You can use these sentences to express your opinions or ask others’ advice. Next, I want all of you to discuss your own travelling plans. Provided that one student plans to travel but doesn’t know where to go. We talked about many places just now. Besides these, you can also recommend him some other places you’ve been to.}

((pair discussion))

T: Nà wǒ men jīn tiān xué xí de jiù shì tán lǚ xíng jì huá, tè bié shì méi qù guò de yī dìng yào qù lǚ xíng xià, jīn tiān dà jiā shuō de fēi cháng hǎo, xī wàng nǐ men yǐ hòu néng yòng dào wǒ men zhè xiē jù zi qù liàn xí kǒu yǔ. {Well, what you’ve learned today is travelling plans. Especially those students who have never travelled before must find a chance to travel. You all did a great job today. I hope that you can use what we’ve learned today in your oral Chinese in the future.}

Published Online: 2018-04-26
Published in Print: 2018-04-25

© 2018 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Frontmatter
  2. Part One: Chinese Semiotics and Western Traditions
  3. Semiotics – Another Window on the World
  4. Part One: Chinese Semiotics and Western Traditions
  5. The Historic Mission of Chinese Semiotic Scholars
  6. Part Two: Cultural Signs and Sign Theories
  7. Exploring Approaches to Interpreting Studies
  8. Part Two: Cultural Signs and Sign Theories
  9. Translating the Idea of Hua
  10. Part Two: Cultural Signs and Sign Theories
  11. The Anthroposemiotics of Jokes in Funeral Rituals
  12. Part Two: Cultural Signs and Sign Theories
  13. Barthes’s Semiotic Theory and the TCSL Classroom
  14. Part Two: Cultural Signs and Sign Theories
  15. Cultivating the Guessing Instinct
  16. Part Two: Cultural Signs and Sign Theories
  17. A Short Introduction to Edusemiotics
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