Multimedia Activities in L2 Course Websites

Transcrição

Multimedia Activities in L2 Course Websites —
A Case Study of a Site Dedicated to Cultural Topics
of Portuguese-Speaking Countries
RICARDO VASCONCELOS
University of Wisconsin - Milwaukee
ABSTRACT
This study examines student preferences and behavior when navigating online
multimedia modules dedicated to teaching cultural aspects associated with an L2, and
the contribution of the online multimedia format of the modules to raising interest in
these cultural topics. It focuses on student options regarding reading texts on the
modules’ main pages and/or in versions with glossary annotations, and it analyzes
student preferences regarding the articulation of audio/video and writing assignments.
Students enrolled in five sections of first-year Portuguese classes completed five
modules as well as surveys expressing their preferences with regards to the navigation
features. A qualitative and quantitative analysis of their replies showed that students
prefer not to navigate away from main web pages of modules to read exclusively
annotated versions of texts on separate web pages, and that students read both the
texts on the main web pages and on the annotated versions when texts are more
demanding. Students rely less on an annotated version when a video advance
organizer is provided. The study also showed that when prompted to perform writing
activities about audio or video, the majority of students take notes while listening to
the audio or watching the video and prefer to ease cognitive load by replaying the
audio/video files. Finally, student answers demonstrated that the multimedia format of
the modules contributed to stimulating interest in the cultural topics studied.
KEYWORDS
User Preference in Multimedia Activities, Course Management Program, Glossary Annotations,
Portuguese Language, Lusophone Cultures
INTRODUCTION
In recent years, the field of multimedia learning has seen important developments regarding
best practices, guidelines, and general principles for the design of educational materials.
These studies have been developed with a broad concept of multimedia in mind, one that
does not exclusively focus on technological contexts, but rather sees multimedia as the
basic articulation of words and pictures. An example of this approach is Mayer’s (2005a)
multimedia principle, which states that people “learn more deeply from words and pictures
than from words alone” (p. 47). In this context, a multimedia instructional message is seen
as “communication containing words and pictures intended to foster learning” (p. 47),
regardless of the means through which this communication is delivered.
LITERATURE REVIEW
The importance of multimedia in second language acquisition has been the subject of recent
reflection. Plass and Jones (2005) define the realm of second language acquisition with
multimedia as “the use of words and pictures designed to support the comprehensible input
that the learner is exposed to and interacts with, and to elicit and negotiate comprehensible
output” (p. 469). Omaggio Hadley (2001) defines advance organizers as “pedagogical
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639 CALICO Journal, 29(4)
devices that activate relevant background knowledge (...) to facilitate the learning and
retention of new material” (p. 144), and points out that in recent years the concept has
referred to “an array of pedagogical aids, including pictures” (p. 144). Omaggio Hadley
(2001) also reviews different research projects that have made the case for multimedia
materials, namely in listening and reading activities and when “learners are at a fairly low
level of proficiency” (p. 150). More recently, Plass and Jones (2005) have proposed an
advance organizer principle using multimedia, which suggests that “students acquire
language better when they view an advance organizer before receiving input in reading or
listening activities. Advance organizers presented in visual and verbal modes are more
effective than those presented in only the verbal mode” (p. 481).
Reinking (2005) has assessed five main differences between “reading printed and digital
texts” (p. 358), the implications of which should be considered in the design of instructional
tools. One of these differences relevant to our study is the possibility that information in the
digital text can be organized “in nonlinear formats” (p. 358). Moreover, Chun and Plass
(1996) showed learning foreign vocabulary is facilitated when annotations are provided in
text + picture format, rather than solely in text or picture format. In addition, Chun (2001)
has identified a preference for online support resources such as glossaries integrated in the
context of the readings.
When designing online multimedia learning environments, it is crucial to bear in mind a
number of distinct concepts and principles of multimedia learning. It is important to
consider the concept of cognitive load (Mayer 2005a; Sweller, 2005), which is defined as
the “load imposed on working memory by information being presented” (Mayer, 2005a, p.
28). Equally important and tightly connected with this notion of cognitive load is the concept
of split-attention instructions, defined by Mayer (2005a) as “instructions in which multiple
sources of information are not physically integrated so that working memory resources need
to be used for mental integration” (p. 28). Schnotz (2005) proposes the spatial contiguity
principle, which suggests that if written text is used, it should be presented “in close spatial
proximity to the picture” (p. 65). The temporal contiguity principle, also conceptualized by
Schnotz (2005), states that if spoken text is used it should be presented “in close temporal
proximity to the picture” (p. 65), in order to reduce cognitive load. Just as crucial in the
design of multimedia learning environments and relevant to our study is the modality
principle (Schnotz, 2005), which suggests that if animation is used, spoken text should be
preferred to written text. Finally, essential in the context of online multimedia learning, is
Merriënboer and Kester’s (2005) self-pacing principle, which indicates “giving learners
control over the pace of the instruction may facilitate elaboration and deep processing of
information” (p. 83).
PRESENT STUDY
This study reports research on the preferences of students regarding the navigation of
multimedia tools developed in the context of websites dedicated to second language
acquisition. In this study, the websites created by the researcher and hosted by a course
management program (a customized version of Moodle) focused on cultural aspects of
various Portuguese-speaking countries. Culture was understood here in a relatively broad
sense, encompassing music, cinema, and history. These cultural aspects were chosen as
topics since they often receive little attention in beginner level second language classes. On
the other hand, this broad understanding of culture beforehand allowed for an expectation
of using audio and video in articulation with text, allowing for the discussion about the best
practices in multimedia learning.
In designing the multimedia tools on the website, an attempt was made to take into
consideration all of the principles of multimedia learning and research results referred to
above so as to enhance the student learning experience. The focus of this paper is on the
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Ricardo Vasconcelos
choices of navigation regarding the use of glossary annotations and on aspects related to
the spatial contiguity, the modality, and cognitive load principles.
RESEARCH QUESTIONS
The study sought answers to the following questions:
1. If provided the options of reading texts in the main pages of online activity
modules or in linked versions with glossaries, how will students behave?
2. When writing short answers to questions regarding audios or videos, do
students choose to compose their responses while listening to the audios
or watching the videos, or only after having completed the listening or
visualization one or more times?
3. How can student interest in the cultural topics taught in a language class
be enhanced by online modules designed as multimedia hubs integrating
audio, video and text?
METHOD
Subjects
Subjects for the study were all students enrolled in first-year (beginner) Portuguese
language classes at the University of California, Santa Barbara. These students were
enrolled in two sections of Portuguese 2, two sections of Portuguese 3, and one section of
Portuguese 16B, an accelerated beginner level Portuguese class that overlaps in content
with levels 2 and 3. Since the sections of Portuguese 2 (Winter) and 3 (Spring) are
sequential and never held concomitantly, the five modules described below were distributed
in the two quarters of Winter and Spring 2009. The students in Portuguese 16B completed
the same five modules during the single Spring quarter the class is offered. The number of
students who completed the five modules in which this study is based fluctuated slightly
between modules, as represented in Table 1, since not all of the students enrolled in
Portuguese 2 later enrolled in Portuguese 3, and since the activities required were
performed as homework assignments, which were not always completed by all the students.
Table 1 indicates the distribution of students per module and gender. Since the classes were
filled by the office of the registrar under standard procedures (the classes were open to
students of all levels and with no prerequisites), the sample of the study also directly
reflects the variability of the actual enrollment. The study does not specifically seek to
contrast the results obtained with student gender or enrollment seniority. Nevertheless it
should be noted that the average ratios of answers to exercises by male students (47.3%)
and by female students (52.7%) were proportional.
Table 1
Number of Participants and Sample Answers per Module and Student Gender
Module
M.
M.
M.
M.
M.
1
2
3
4
5
- "Carnaval"
- Pre-screening of film
- Pre-discussion of film
– “Kuduro”
– “East Timor”
Number of
Answers
44
44
35
39
33
641 Female
% Female
Male
% Male
25
22
16
22
18
56.8%
50%
45.7%
56.4%
54.5%
19
22
19
17
15
43.2%
50%
54.3%
43.6%
45.5%
General Procedures
All modules were created in two websites developed and maintained exclusively by the
researcher on the Moodle-based course management system customized and used by the
university. Both sections of Portuguese 2 (Winter) and 3 (Spring) shared a website, and
students in Portuguese 16B (Spring) had an independent site in which the same modules
were built.
Each module consisted of a main webpage built with the Moodle webpage editor tool. All of
the module pages contained multimedia materials, such as texts, video clips and images, as
can be seen in figures presented below. The module pages also provided links to other
artifacts created by the researcher (mostly with programs eXe, Hot Potatoes, and Gloss
Maker) and links to specific external pages to be consulted by the students. Included in
these modules were also comprehension questions about the information presented in the
multimedia materials that required responses in formats ranging from short answers to
more open-ended replies. At the beginning of the research period, students delivered their
answers to the questions in the modules by uploading text documents to a “Dropbox.” Later
in the research period these answers were provided using online forms created through
Google Documents – Forms.
Finally, each module in Moodle included a final webpage with a survey in which students
were asked for their feedback about the module, namely regarding the construction,
functioning, and the amount of interest it had raised. The format of these surveys was a
multiple-choice questionnaire.
Description of Modules and Activities
Module 1 – Carnaval
Module 1 – Carnaval consisted of a main page with two activities. The first activity provided
a text of approximately 400 words introducing both the origins of Carnival and its relevance
in Brazil and Portugal (Fig.1). The text was paired with two illustrating photos of the event
in each country and was followed by five short-answer comprehension questions (Appendix
A). As with all other modules that included a reading assignment, students were provided
an optional link to a webpage with a version of the text with glossary annotations created
with Gloss Maker (Fig. 2). In the second exercise short-answer questions aimed at
stimulating a contextualized reflection about the 2009 Carnival of Rio de Janeiro. Students
were instructed to access a website that presented all the enredos (themes) for each samba
school participating in the parade; subsequently, students were given a link to a page of
one of the samba schools (Mocidade Independente), and were prompted to read the lyrics
of the theme-song, which would play automatically. Finally three reading/audio shortanswer comprehension questions followed, verifying the understanding of the enredo of the
song (dedicated to writers Machado de Assis and Guimarães Rosa). After completing the
module's main activities, students had the option of taking a multiple-choice survey
regarding their reading process.
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Ricardo Vasconcelos
Figure 1
Main Page of Module 1
Figure 2
Version of Text with Glossary
Module 2 – Pre-screening of O Homem que Copiava
Module 2 consisted of preparatory activities for the in-class screening of a film. The main
webpage of the module featured two different video trailers of the film (one in Portuguese
and another in English). The two videos were taken from the websites “TrailerAddict” and
“UOL — Brasil” and embedded in the module (see Fig. 3). After viewing the trailers,
students were asked to read a short synopsis of the film (72 words) and, as with Module 1,
could choose to read it in an annotated Gloss Maker version (Fig. 4). Two sets of questions
followed (Appendix B). The first set directly tested reading comprehension, with shortanswer questions structured with interrogative pronouns (such as Who is the main
character? or What is his job?). At the same time the module prepared a reflection on the
content of the film. Since one of the main topics of the film is the protagonist’s desperate
need for R$38, presented as an exorbitant amount for him, a link was provided so that
students could check the Brazilian currency exchange, to verify the actual (small) value at
stake. The second set of questions (also requiring short answers) prompted students to look
up basic information about the film, namely the year of its release, its director and main
actors; in this case, no links were provided for this search.
Figure 3
Section of Main Page of Module 2 (Trailer, Synopsis, and Questionnaires)
Figure 4
Version of Text in Module 2 with Glossary
Module 3 – Pre-discussion of O Homem que Copiava
Module 3 was completed before the film's screening, and was intended to help students
prepare for the class discussion. For that reason, students were asked to describe the four
main characters of the film (no instructions were given as to whether these descriptions
should reflect physical or non-physical attributes), and the characters' photos and names
were provided (Fig. 5). In addition to this task, students also had to present organized
opinions about the film, namely with regards to their favorite character and scene, an
interesting technical aspect of the film, and an opinion about the ending (Appendix C). Both
sets of questions were open-ended and non-controlled, and required composing (short)
texts at the students’ discretion. A final exercise was an interactive crossword puzzle (made
with the program Hot Potatoes) focusing on relevant vocabulary highlighted in the film (Fig.
6).
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Ricardo Vasconcelos
Figure 5
Figure 6
A Crossword Puzzle Using the Vocabulary from the Film
Module 4 – Kuduro
Module 4 was dedicated to the Angolan style of music Kuduro. There were essentially four
activities in this module, three of which were multimedia activities. The first activity
consisted of reading a text (about 250 words) giving basic information about this style of
music, namely where it started, where it can be heard, and who its well-known singers are
(Fig. 7). As happened with the other modules with readings, students could choose to read
the text in an annotated version made with Gloss Maker (Fig. 8). Following the text students
were asked a set of four short-answer comprehension questions (such as In what language
are the lyrics of Kuduro usually written? or What’s the origin of the name Kuduro?)
(Appendix D).
The first multimedia activity involved listening to a famous Kuduro song and identifying
three passages from the lyrics (plausibly associated with the chorus). The second activity
required students to view a videoclip of street interviews in Angola, asking opinions about
the cultural significance and defining characteristics of Kuduro. Students were again
required to take note of three such features. The final activity also asked students to watch
a video clip in which a Kuduro dance was performed by various men mutilated by landmines
in Angola or by veterans of the civil war. The purpose of this screening was to raise
awareness about this dramatic social problem in Angola, and as a pre-screening activity
students read a short text (38 words) explaining why these dancers were mutilated. In
response to the video, students were required only to provide their opinion in an openended format.
Figure 7
Figure 8
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Ricardo Vasconcelos
Figure 9
Multimedia Activities for Module 4
Module 5 – East Timor
Module 5 was dedicated to the recent history of East Timor, in particular to the events that
led to the independence of the country. The module contained a text (366 words) describing
the history of East Timor from the arrival of the Portuguese in 1512 to the Santa Cruz
Cemetery Massacre (Fig. 10). It focuses on the country´s subsequent domination and
dispute for control by the Portuguese, the Dutch, and more recently Indonesia. As in all
other modules with readings, an annotated version of the text was available for students to
read (Fig. 11), the link having been provided in the initial instructions. Adjacent to the
section of text dedicated to the Santa Cruz Cemetery Massacre, and illustrating it is reporter
Max Stahl’s video that first divulged it to the world, via a link to YouTube (Fig. 12). The
screening of the video was not mandatory or even necessary to answer the comprehension
questions. A warning about the graphic content in the video was also provided. Students
then had to answer four comprehension questions about the reading (three short-answer
questions such as What countries divided the control of the island?; and a yes/no question)
(Appendix E). These were uploaded to a webpage created with the use of Google
Documents – Forms (Fig. 13).
Figure 10
Figure 11
Figure 12
Main Page of Module 5 — Video Illustrating Text
Figure 13
Form to Submit Answers
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Ricardo Vasconcelos
RESULTS AND DISCUSSION
The following tables summarize the answers given by students in the surveys about the
modules. As previously explained, these multiple-choice surveys followed the completion of
the activities in the modules. It should be noted that since the answers to the surveys were
not mandatory, the number of students providing responses in the surveys was always
slightly lower than the actual number of replies in the activities in each module. Despite the
fact that not all students responded to the surveys, an analysis of their responses helps us
better understand student preferences as far as the use of these multimedia tools is
concerned, specifically their navigation choices regarding readings and the process of notetaking while watching videos or listening to audio.
Table 2
Students’ Answers to Surveys about Module 1
1. What text(s) did you read?
a) Only the text on the module main page
b) Only the text with the glossary annotations (link)
c) Both texts
d) None of the texts
Total
2. Did you follow any of the links?
a) Only the one about "enredos"
b) Only the one with the "samba" song
c) Both
d) None
Total
3. Did you read the samba lyrics and listen to it
simultaneously?
a) Yes
b) No
Total
Number of
answers
16
4
15
1
36
Percentage
44.4%
11.1%
41.7%
2.8%
100%
5
8
17
5
35
14.3%
22.9%
48.6%
14.3%
100%
17
17
34
50%
50%
100%
Table 3
Students’ Answers to Surveys on Module 2
1. Did you watch the trailer?
a) Yes
b) No
Total
2. Did you read…
a) ...the synopsis in Portuguese in the module page?
b) ...the version with vocabulary annotations (following the
link)?
c) …both?
d) I didn't read either of them
Total
3. Did you follow the link to check the exchange for the
currency R$ (Real)?
a) Yes
b) No
Total
649 Number
answers
26
0
26
of
Percentage
100%
0%
100%
12
50%
3
12.5%
9
0
24
37.5%
0%
100%
21
3
24
87.5%
12.5%
100%
4. How easy was it to find information on the film outside
the module (year, director, actors...)?
a) Easy
b) Hard
c) I didn't look
Total
23
1
0
24
95.8%
4.2%
0%
100%
Table 4
Students’ Answers to Surveys on Module 3
1. Did the pictures in the module page (3B)
help you describe the characters?
a) Yes
b) No
Total
2.
Regarding
the
crosswords,
did
you
try
answering all the words before checking
your answers?
a) Yes
b) No
c) I didn't try solving the crosswords
Total
3. How did you like the movie?
a) I liked it a lot
b) So and so
c) I didn't like it
Total
4. How much did you enjoy this movie, in comparison
to others in any other language classes?
a) More than most other
b) As much as others
c) Less than others
d) I have never watched a movie in a language class
Total
5. Do you believe preparing the screening of the
movie in the course website helped you
understand the film better?
a) Yes
b) No
Total
6. Do you believe preparing the screening of the
movie in the course website helped you
enjoy the film more?
a) Yes
b) No
Total
650
Number of
answers
11
8
19
Percentage
57.9%
42.1%
100%
13
1
3
17
76.5%
5.9%
17.6%
100%
10
8
0
18
55.6%
44.4%
0%
100%
6
8
1
3
18
33.3%
44.4%
5.6%
16.7%
100%
15
3
18
83.3%
16.7%
100%
10
8
18
55.6%
44.4%
100%
Ricardo Vasconcelos
Table 5
Students’ answers to surveys about Module 4
1. What texts did you read?
a) The original text on the webpage
b) The text with glossary
c) The text in both places
Total
2. To find the three passages of the lyrics of "A Felicidade,"
in exercise 2, did you:
a) listen to the song once and write the answers at the same
time?
b) listen to the song more than once and write the answers
on the second time or after?
c) write the answers after you heard the song?
Total
3. To find the three opinions about Kuduro, in exercise 3, did
you:
a) watch the video once and write the answers at the same
time?
b) watch the video more than once and write the answers on
the second time or after?
c) write the answers after you watched the video?
Total
4. Did the module interest you in knowing more about
Kuduro?
a) Yes
b) No
Total
Number
answers
10
2
15
27
of
Percentage
37%
7.4%
55.6%
100%
4
13.8%
25
0
29
86.2%
0%
100%
6
23.1%
15
5
26
57.7%
19.2%
100%
21
5
26
80.8%
19.2%
100%
Table 6
Students’ Answers to Surveys about Module 5
1. Did you read:
a) the text on the module only?
b) the text with glossary, by following the link?
c) the text in both places?
Total
2. Did you watch the YouTube video?
a) Yes
b) No
Total
Number of
answers
8
4
12
24
Percentage
33.3%
16.7%
50%
100%
17
4
21
81.0%
19.0%
100%
If contrasted with the actual exercises completed by students in the modules, the results in
the surveys can help us draw conclusions regarding students' reading and navigation
preferences. The modules allowed students to read the four texts on the main web pages,
and/or on linked web pages containing only the texts with annotated vocabulary (html
documents created using the website Gloss Maker). When asked if they had preferred
reading the text on a) solely the main webpage; b) solely on the webpage with glossary
annotations; or c) both texts, students' replies were revealing.
Regarding the four modules, only a minority of students (a minimum of 7.4% on Module 4 –
“Kuduro” and a maximum 16.7% on Module 5 – “East Timor”) said they had preferred to
read exclusively the annotated text. In Modules 1 (“Carnaval”) and 2 (“Pre-Screening of O
Homem que Copiava”), most students stated they had preferred reading the text only on
the main page of the module, rather than reading both versions of the text. In the case of
Module 1 (“Carnaval”) the proportion was 44.4% vs. 41.7%. In Module 2 (“Pre-Screening of
O Homem que Copiava”), 50% preferred reading the text on the main page over 37.5%
who chose to read both. On Modules 4 (“Kuduro”) and 5 (“East Timor”), most students
answered that they had preferred to read the texts on both the main pages and on the
annotated page. In Module 4 (“Kuduro”), 55.6% of students chose to read both versions of
the text over 37% who chose to read only the text on the module page; in Module 5 (“East
Timor”) 50% chose to read both versions of the text against 33.3% who chose to read only
the text on the module page.
The conclusion that only a very small minority of students preferred to read exclusively the
text with glossary can plausibly be attributed to a certain inertia that might lead students to
simply remain on the main webpage and not navigate away from it. However, it seems to us
that this preference is mostly explained by the spatial contiguity principle (Schnotz, 2005),
which states that if written text is used in multimedia context, it should be presented “in
close spatial proximity to the picture” (p. 65). This is particularly relevant if we consider that
previous research (Chun, 2001) shows students’ appeal for glossaries integrated in the
reading environment. What seems clear is that even if students do appreciate the access to
internal glossaries (Chun, 2001) in texts, as was the cases of the ones provided in the text
versions created with Gloss Maker, that doesn’t seem to be more important than reading
the texts in their original multimedia context (in the case of these modules, reading
alongside videos or pictures). The pedagogical implication is that, in the creation of online
modules, an effort should be made to integrate the glossaries on the main pages of these
modules.
This first conclusion, according to which only a small minority of students preferred to read
exclusively the versions of text with glossary, accessed through a hyperlink, should be
articulated with the second and third conclusions, which at first glance seem contradictory,
but whose apparent contradiction is mostly accounted for by the actual types of reading
entailed.
Students’ answers regarding Module 1 (“Carnaval”) show that a majority of 44.4% of
students preferred to read the main page, over 41.7% that preferred to read both; it should
be noted that the difference could be considered statistically irrelevant, since it corresponds
to only one student. As for Module 2, a case in which students clearly stated they had
preferred to read only the main page (50% vs. 37.5%), this conclusion finds an explanation
in the format of the activity itself. On one hand, this reading was considerably shorter (72
words) than those in the other modules, which may well have been a cause for students to
find the annotated version unnecessary. On the other hand, and more importantly, contrary
to the structure of the other modules, this reading — the synopsis of the film — was placed
after two video advance organizers and two trailers for the film; one in English and another
in Portuguese. In fact, an analysis of the answers in Module 2 showed that in the case of the
two questions which referred to the synopsis (and the trailers) all students answered
correctly. This corroborates Plass and Jones (2005) when they conclude that students
acquire language better if they view an advance organizer before a reading or a listening
input. This finding also agrees with more general research that proves the value of advance
organizers, even if greater emphasis has been put on written texts as advance organizers
for videos, and not vice-versa (see the review of research in Omaggio Hadley 2001; and
Herron, Hanley, & Cole, 1995).
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Ricardo Vasconcelos
One of the conclusions that seems more striking is the fact that, as we have seen in the
case of Modules 4 and 5, there was a considerable preference for reading both versions of
the texts (on the main page of the module and the annotated version) over reading
exclusively the one on the main page. Our interpretation of these results is that this occurs
more clearly when the comprehension of the text proves more challenging, be it because of
their length, vocabulary, or the lack of an advance organizer. Overall it seems that students
prefer to resort to consulting both texts in order to attempt to obtain a better understanding
of the texts in question, depending on the degree of difficulty of each and on the
comprehension tasks required. In this sense, the annotated version likely plays the role of a
second attempt at the comprehension of vocabulary that had not been understood at first.
We believe this was the case with Modules 4 and 5, containing texts of about 250 words and
350 words respectively, in which a majority of students stated they had preferred to consult
both versions. In the case of Module 4 (“Kuduro”), the text also included a number of words
of Kimbundu origin. An analysis of the actual responses to the comprehension questions on
this text shows that even if most students provided mostly the right answers, a number of
incomplete answers also occurred (namely to questions 1.2., concerning the different
theories about the origin of the word Kuduro, and 1.4., on where Kuduro can be heard
nowadays, which also required an enumeration of locations that many students failed to
do). The text in Module 5 (“East Timor”) also used a large quantity of non-cognate
sophisticated vocabulary, in this case to give an account of a historical event. With respect
to its comprehension questions, most students also provided correct answers, but
discrepancies can be found in the answers to question 3 (“What happened at the Cemetery
of Santa Cruz?”), in which students opted to provide short — although still correct —
answers, such as “a massacre,” but did not attempt to explain in more detail the events of
that day, even though they were described in the text. A short answer such as “massacre”
was certainly correct, but relatively obvious in light of the media incorporated; therefore we
can only raise the possibilities that the very short answers reflected the fact that students
were not prompted to provide detailed answers, or that they may have found it difficult to
understand the explanations found in the text.
With regards to the second research question, concerning student preferences in writing
short answers to questions on audio or video-based content (writing them while
watching/listening vs. only after finishing watching/listening), students’ answers were clear.
In Module 4, students were required to identify and write down three passages of a song's
lyrics that could be heard directly on the main webpage. Out of a total of 29 students, an
overwhelming majority of 86.2% declared they had preferred to listen to the song more
than once and simultaneously take notes and compose their answers. No student stated a
preference for writing their answers after listening to the audio, and the remaining 13.8% of
students preferred to listen to the audio file only once, while writing their answers
simultaneously. This is particularly striking as students were not familiar with the Angolan
accent of the singer, and the analysis of the actual answers to the questions shows that
many students did not identify three different passages of the lyrics, and a few could not
reproduce any at all.
These results can be even more clearly understood in context with another activity, also in
Module 4, in which students were required to watch a video clip featuring street interviews
about Kuduro and find three opinions expressed by interviewees. A majority of students
(57.1%) claimed that they had watched the video more than once and written their answers
simultaneously, and 23% of students stated they had watched the video once only and
written the answers at the same time. Still, 19.2% of students declared they had preferred
to write their answers after they had watched the video. This is relevant since the analysis
of the results shows that more students were able to identify three passages of the
interviews (which were clearly not as repetitive as was the song). This was the case even
with most of those students who could not identify passages of the music in the previous
activity. Given the data analyzed in both activities, it is very clear that students in this study
preferred to take notes while repeatedly listening to an audio file (the first activity, with a
positive response of 86.2%) or watching a video (the second activity, with a positive
response of 57.1%). The repetition of the recording seems to be the preferred strategy to
deal with the cognitive load (Mayer, 2005a) resulting from trying to understand oral
discourse in a foreign language and using working memory to take notes. This conclusion is
particularly interesting considering that students were doing the activities as homework, and
could therefore follow their own pace, without feeling the number of opportunities they had
to replay the files or to pause them was limited.
Whereas in the first activity (audio/note-taking) none of the students preferred to wait until
the end of the song to write their notes, in the second activity (video/note-taking) the
19.2% of students who preferred to write their answers after viewing the video seem to be
adopting a different strategy to diffuse a cognitive load (Mayer, 2005a), caused in this case
specifically by the higher difficulty of observing a video and writing at the same time. This
contrast is consistent with the modality principle (Schnotz, 2005), which holds that “pictures
should be combined always with spoken text instead of written text in order to avoid splitattention and in order to benefit from higher working memory capacity” (p. 65). The
students that did not compose their answers simultaneously with their viewing of the video
appear to be deploying a strategy to avoid split-attention resulting from a simultaneous
viewing/composing scenario.
Schnotz's modality principle is also reinforced by results on a Module not discussed in this
paper, which focused on the “Basic Geography of the Lusophone Countries.” In this module,
25.6% of students considered it very easy, and 61.5% considered it easy, to solve an
exercise that required identifying flags drawn on a map by listening to a recording
describing them. In this case too it was not a challenge to follow an audio input describing
an image (a world map with the flags of the Portuguese-speaking countries). Another
module, which was not included here (since it was not completed by all class sections
participating in the study), was dedicated to the music of the Portuguese band “Clã.”
Results in this module are consistent with the modality principle, since 13 out of 17 students
declared they had preferred to listen to a song and read its lyrics simultaneously (in a cloze
exercise made with Hot Potatoes), rather than waiting until after listening to the song to
complete the cloze.
Finally, with regards to the third research question, relevant data can be pointed out
concerning the contribution of the multimedia modules integrating audio, video, and text to
enhancing the interest of students in different aspects of Lusophone cultures. Regarding the
film screening, it is very enlightening to see that 83.3% students believed that completing
Module 2 (“Pre-Screening”) helped them “understand the film better,” and 55.6% believed
that it had helped them “enjoy the film better.” And it is worth pointing out that 100% of
students watched the trailer. These results certainly highlight Mayer's multimedia principle,
which states that people learn more deeply from words and pictures than from words alone.
This also makes the case for the use of multimedia materials, particularly in preparation for
course film screenings. In Module 4 (“Kuduro”), 80.8% of students stated that the module
had interested them in “knowing more” about the musical style. Very few students were
ambivalent in their opinions about the dance performed by a group of mutilated victims of
the civil war. The majority of students naturally regretted the fact that the dancers were
mutilated, but expressed satisfaction with the fact that they were agile in their dance; a
minority of students expressed distaste for the objectification of women in the video clip;
and a minority of students interpreted the video as a wider denunciation of war. In the
module “East Timor”, 81% of the students declared they had watched the YouTube video on
the module, a video that was not directly required by any of the exercises, taking advantage
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Ricardo Vasconcelos
of the particular "nonlinear format" of digital texts (Reinking, 2005). The same happened
with other modules not included in this research, in which students declared they had
followed links provided even though they were not necessary to complete any activity (such
as the official website of Brazilian band “CSS – Cansei de Ser Sexy,” for example). In all of
these cases of modules organized as hubs for different cultural connections, articulating
audio, video and words, the use of hypermedia was a pivotal added value in engaging
students in the topics studied.
CONCLUSIONS
This study specifically demonstrates that, with regard to modules with text, students
typically prefer to read the texts on the main pages of modules rather than navigating away
from these and reading the annotated versions of these texts on other webpages. This
makes the case for the integration of multimedia (images and text), and for the integration
of glossary annotations on the main webpage, which is consistent with the results
demonstrated by Chun (2001). This paper also demonstrates that when students have the
option of reading two versions of a text, one version in the main website, and a separate
one with glossary annotations, students will tend to resort to both the more demanding
these texts are. This was the case with the texts in Module 4, larger texts that included a
considerable number of words of Kimbundu origin, and in Module 5, which also used a
significant amount of new vocabulary and gave a historical account. These texts contrasted
with the shorter text in Module 2 (a brief film synopsis), as the latter was preceded by video
advance organizers. A subsequent study could focus specifically on the use of those tools
when texts of clearly different levels of demand are at stake — in their length, vocabulary,
or syntax — and would profit from the use of tools to track the exact order in which
students read the different versions of the texts, and how much students in fact make use
of the glossary annotations. Along those lines, it would also be relevant to assess student
preference regarding reading non-annotated texts (in the context of the module) and/or
annotated texts (accessed via a link on the module) when confronted with specific
comprehension questions that may prove more or less challenging in terms of vocabulary
comprehension.
Furthermore, the study also highlights the importance of video as an advance organizer to a
reading, which is in line with the advance organizer principle using multimedia (Plass &
Jones, 2005). The results indicated that its use greatly helped all students answer the
questions about a text correctly and feel less compelled to consult the annotated version.
Another contribution of this paper is the conclusion that when prompted to take notes on an
audio or video recording, students preferred to diminish cognitive load by taking notes while
listening to the recordings repeatedly, instead of waiting for the end of the recording to
compose their notes. Still it was clear that students were more adept at performing writing
activities simultaneously with audio than writing activities and simultaneous video. As we
have seen, these results can be understood in the context of the concepts of split attention
and cognitive load (Sweller, 2005; Mayer, 2005a), and are in line with Schnotz's modality
principle (2005). Further research may want to consider student preferences with different
lengths of audio/video recordings, different levels of language used therein, and distinct
types of writing tasks to be performed while listening to or viewing these recordings.
Finally, the study illustrates that modules designed as multimedia hubs integrating audio,
video, and text can promote interest in different cultural aspects related to the language
being taught. Students believed that the online materials prepared them for specific
activities in the classroom (such as the film screening and discussion), and their answers
also stated that the online modules had sparked their curiosity in topics that were not
addressed in the classroom. In fact, students' answers also demonstrated that they chose to
follow links to listen to audio recordings and watch video recordings that were neither
required for the completion of the modules nor assigned as homework in order to learn
more about an unfamiliar culture.
Further research might take into consideration gender differences in the use of the tools
addressed in our research. This is particularly important since it is noticeable that the
percentage of voluntary replies to surveys by female students was considerably higher than
the percentage of female answers to the exercises in the modules, suggesting a higher
engagement with the activities. A contrast, between the results in the module answers and
student feedback about the module given through the surveys tool, may possibly yield
interesting results if the gender of the students is taken into consideration.
ACKNOWLEDGEMENTS
This research project was partially financed by a faculty mini-grant for the development of
course websites, awarded by the University of California, Santa Barbara, Instructional
Development, whom I thank. I want thank Dr. Laura Marqués-Pascual, coordinator of UCSB
Portuguese lower division language classes, for applying for this research mini-grant and for
allowing me to conduct this research in the classes under her supervision. The appreciation
is extended to the participating students, as well as to the teaching assistants and lecturers
in whose classes, along with my own, the research took place: Dr. Lauren Applegate, Dr.
Ivone Umar Gazaleh, Dr. Ellen Oliveira and Carlos Pio. I would also like to thank Dr. Dorothy
Chun and Dr. George Michaels for considerable feedback on the design of many of the
multimedia activities used here. Finally, I thank Dr. Dorothy Chun for her comments on a
preliminary version of this paper, Annalisa Nash Fernández for her proofreading, and the
editors and anonymous reviewers of the CALICO Journal for their assistance in its revision.
REFERENCES
Chun, D. (2001). L2 reading on the web: Strategies for accessing information in hypermedia.
Computer Assisted Language Learning, 14(5), 367-403.
Chun, D., & Plass, J. (1996). Effects of multimedia annotations on vocabulary acquisition. The Modern
Language Journal, 80(2), pp. 183-198.
Herron, C. A., Hanley, J. E. B., & Cole, S. P. (1995). A comparison study of two advance organizers for
introducing beginning foreign language students to video. The Modern Language Journal,
79(3), 387-395.
Kirschner, P.A. (2002). Cognitive load theory: Implications of cognitive load theory on the design of
learning. Learning and Instruction, 12(1), 1-10.
Mayer, R. (2005a). Cognitive theory of multimedia learning. In R. Mayer (Ed.), The Cambridge
handbook of multimedia learning (pp. 31-48). New York: Cambridge University Press.
Mayer, R. (2005b). Principles for reducing extraneous processing in multimedia learning: Coherence,
signaling, redundancy, spatial contiguity, and temporal contiguity principles. In R. Mayer
(Ed.), The Cambridge handbook of multimedia learning (pp. 183-200). New York: Cambridge
University Press.
Merriënboer, J. G., & Kester, L. (2005). The four-component instructional design model: Multimedia
principles in environments for complex learning. In R. Mayer (Ed.), The Cambridge handbook
of multimedia learning (pp. 71-93). New York: Cambridge University Press.
Omaggio Hadley, A. (2001). Teaching language in context. (3rd ed.) Boston: Heinle & Heinle –
Thomson Learning.
Plass, J. L., & Jones, L. C. (2005). Multimedia learning in second language acquisition. In R. Mayer
(Ed.), The Cambridge handbook of multimedia learning (pp. 467 – 488). New York: Cambridge
University Press.
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Reinking, D. (2005). Multimedia learning of reading. In R. Mayer (Ed.), The Cambridge handbook of
multimedia learning (pp. 355-374). New York.
Rouet, J.-F., & Potelle, H. (2005). Navigational principles in multimedia learning. In R. Mayer (Ed.),
The Cambridge handbook of multimedia learning (pp. 297-312). New York.
Schnotz, W. (2005). An integrated model of text and picture comprehension. In R. Mayer (Ed.), The
Cambridge handbook of multimedia learning (pp. 49-69). New York.
Sweller, J. (2005). Implications of cognitive load theory for multimedia learning. In R. Mayer (Ed.),
The Cambridge handbook of multimedia learning (pp. 19-30). New York: Cambridge University
Press.
Appendix A
Module 1 – “Carnaval”:
O CARNAVAL
I. Lê o seguinte texto (clica aqui para uma versão com definições de vocabulário) e
responde às perguntas.
Origem e actualidade
O Carnaval é um período de festas originário no Cristianismo da Idade Média. O
período do Carnaval era marcado pelo "adeus à carne" (início da quaresma, até à Páscoa)
ou "carne vale" dando origem ao termo "Carnaval".
O Carnaval moderno, feito de desfiles e fantasias, é produto da sociedade vitoriana
do século XIX. A cidade de Paris foi o principal modelo exportador da festa carnavalesca
para o mundo. Cidades como Nice, Nova Orleães, Toronto e Rio de Janeiro se inspirariam no
Carnaval francês para implantar suas novas festas carnavalescas.
Apesar de o Carnaval do Rio de Janeiro ser uma das mais importantes do ano, em
2005 o Carnaval de Salvador, Bahia, Brasil entrou no Guinness Book como a maior festa de
rua do mundo. Em Portugal, existe uma grande tradição carnavalesca, nomeadamente os
Carnavais da Ilha da Madeira (donde saíram os imigrantes que haveriam de levar a tradição
do Carnaval para o Brasil) e Torres Vedras. O Carnaval de Torres Vedras intitula-se o mais
antigo e o mais português de Portugal, por se manter tradicional e rejeitando influências
estrangeiras, como o samba.
No Rio de Janeiro
Sem dúvida, o Carnaval é o maior evento comemorativo do Brasil e todo ano se
fazem os preparativos para os tão esperados desfiles das escolas de samba no Rio de
Janeiro.
Em questão de feriados, o Carnaval é sempre na segunda e terça-feira, que no caso
de 2009 serão nos dias 22 e 23. Mas pode-se considerar o Carnaval nos dias 21, 22, 23 e
24 de fevereiro de 2009.
Na sexta-feira antes do feriado, às 19 horas geralmente, se dá inicio a um evento - o
desfile de cada escola - que é trabalhado o ano inteiro para ser exibido por cerca de uma
hora na pista do sambódromo. Essa “festa” só termina na terça, e na quarta-feira,
religiosamente falando, as pessoas se "lavam dos pecados cometidos" durante os dias
anteriores.
Em geral, o Carnaval é sempre associado a sexo e samba. Prova disso, é o facto de
nos desfiles das escolas de samba os corpos quase nus de homens e mulheres serem tão
importantes como a arte contida nos trajes e equipamentos. Nesse sentido, o espírito
original do Carnaval foi evoluindo com o tempo.
Todos os anos, as diferentes escolas de samba organizam os seus desfiles em torno
de um "enredo". Estes enredos são pequenos motes, ou slogans, que servem de inspiração
para os carros decorados, as fantasias e as músicas.
PERGUNTAS
1. Quando começou a ser celebrado o Carnaval?
2. Quando começou o Carnaval a incorporar máscaras e fantasias?
3. Quem levou o Carnaval para o Brasil?
4. Onde decorre o maior Carnaval de rua do Mundo?
5. Qual o significado original da quarta-feira de cinzas?
II. Clica aqui, para conheceres alguns dos enredos das escolas de samba no ano 2009.
O samba-enredo de 2009 da Escola Mocidade é inspirado em duas figuras da literatura
brasileira, Machado de Assis e Guimarães Rosa.
Escuta o samba (podes escutá-lo aqui) e lê a letra.
"Clube Literário - Machado de Assis e Guimarães Rosa... Estrela em poesia!" (2009)
Composição: Jefinho, Santana, Ricardo Simpatia, Marquinho Índio e Diego Rodrigues
Mocidade, a sua estrela sempre vai brilhar
Um show de poesia, em nossa academia
Saudade em verso e prosa vai ficar(2x)
Reluzente, estrela de um encontro divinal
Risca o céu em poesias
Traz a magia p'ra reger meu carnaval
Despertam das páginas do tempo
Romances, personagens, sentimentos...
Machado de Assis que fez da vida sua inspiração
Um literário iluminado
As obras, um destino a superação
Nos olhos da arte, reflete o legado
O gênio imortal, do bruxo amado
Que deu ao jornal, um tom verdadeiro
Apaixonado pelo Rio de Janeiro
A canção do meu sarau, te faz sonhar
A emoção vai te levar
A estrela adormece, na paz do amor
Abençoado um novo sol brilhou (2x)
O vento traz [Guimarães] Rosa de Minas
Rosas do mundo pra te encantar
Palavras que tocam a alma
Fascinam e tem poder de curar
Pelas veredas do sertão, a fé, o povo em oração
Pedindo a santa em romaria, pra chover em nosso chão
Mistérios na vida desse escritor
Revelam histórias de um sonhador
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Ricardo Vasconcelos
Brasil de tantas artes, nas letras sedução
Herança em cada coração
Mocidade, a sua estrela sempre vai brilhar
Um show de poesia, em nossa academia
Saudade em verso e prosa vai ficar
Podes encontrar os projectos das fantasias desta escola no site oficial da Escola Mocidade.
PERGUNTAS:
6. Indica o enredo de três escolas de samba, para 2009.
7. Qual a cidade-natal de Machado de Assis (segunda estrofe)?
8. Qual o estado-natal de Guimarães Rosa (quarta estrofe)?
APPENDIX B
Module 2 – Pre-screening of “O Homem que Copiava”:
O HOMEM QUE COPIAVA
1. Assiste ao trailer em inglês do filme O Homem que Copiava.
[trailer]
2. Lê a sinopse do filme (or click here for a version of this synopsis with vocabulary
annotations) e responde às perguntas:
André, 20 anos, operador de fotocopiadora em uma papelaria, precisa desesperadamente
de trinta e oito reais para impressionar a garota dos seus sonhos, Sílvia, que mora no
prédio em frente e trabalha como balconista em uma loja de artigos femininos. Ajudado por
seu amigo Cardoso, e depois também pela colega de trabalho Marinês, André faz muitos
planos para conseguir dinheiro. E todos dão certo. E é aí que os seus problemas começam.
2. Responde à seguinte pergunta:
2.1. Quem é o personagem principal?
2.2. Qual é a sua profissão (job)?
2.3. Quanto são "trinta e oito reais" (R$38) em dólares? (vê aqui)
3. Procura informações sobre o filme, e responde às seguintes perguntas:
3.1. Em que ano foi feito o filme?
3.2. Quem é o seu realizador (director)?
3.3. Como se chamam os actores principais?
COLOCA AS TUAS RESPOSTAS NA TUA DROPBOX.
APPENDIX C
Module 3 – Pre-Discussion of “O Homem que Copiava”
[Questions on the module, accompanied with images:]
1.
2.
3.
4.
5.
6.
Caracteriza as seguintes personagens: André e Sílvia, Marinês e Cardoso.
Quem é o teu personagem preferido?
Qual a tua cena favorita?
Indica um aspecto técnico interessante no filme.
O que pensas do final do filme?
. Faz as Palavras Cruzadas (crosswords) sobre o filme... diverte-te!
APPENDIX D
Module 4 – “Kuduro”
KUDURO
Kuduro é um gênero musical e sobretudo um género de dança de Angola. É
influenciado por outros géneros como Sungura, Afro Zouk (Kizomba), Semba e Ragga. O
ritmo é semelhante ao do Afro Zouk, mas num andamento intermédio.
As letras são normalmente muito simples, geralmente escritas em português, e
muitas vezes com algum vocabulário de línguas angolanas (por exemplo, quimbundo), tal
como Da Dombolo (Dj SL), ou Salalê (Dog Murras).
Muito provavelmente o nome Ku-Duru vem também do quimbundo, ou ainda como o
nome mesmo já supõe ku-duro, bunda-dura, até mesmo pelo próprio estilo da dança em
que se tem o quadril duro.
Foi um estilo de música iniciado por Tony Amado, quando conviveu com DJs de
Ragga nos Estados Unidos da América. Tem também grande implantação em Portugal.
Alguns músicos de Kuduro são: Helder, o Rei do Kuduro, DJ Manya, DJ SL, Daviz, Dog
Murras, Tony Amado, DJ Nike, DJ João Reis, DJ Beleza, DJ Joca Moreno, DJ Malvado, DJ
Amorim, DJ Paulo Jorge, DJ Baby T, Sebem, Dj revolution, Dj znoobia, Bruno M, Puto Prata,
Lambas, Familia kalunga, Os F4, De Faya, Buraka Som Sistema e outros.
Actualmente o estilo é usado mais por jovens de bairros como: Sambizanga, Rangel,
Marçal, Combatentes, Viana.É o estilo que provavelmente melhor anima festas, maratonas
e discotecas.
O kuduro surgiu primeiro como um género de dança e com o passar do tempo
evoluiu para um género musical.
Adaptado de http://pt.wikipedia.org/wiki/Kuduro
1.1.
1.2.
1.3.
1.4.
Em que línguas estão escritas as canções de Ku-duru?
Qual a origem do nome Ku-Duru?
Quem criou o estilo de música Ku-Duru?
Onde se pode escutar Ku-duru?
2. A música "A Felicidade", de Helder Rei do Kuduro, é uma das mais conhecidas. Escuta a
música e identifica 3 passagens da letra.
[link to the song]
3. Observa o seguinte vídeo, em que o entrevistador pergunta a vários angolanos a sua
opinião sobre a música/dança Kuduro.
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Ricardo Vasconcelos
3.1. Indica três opiniões expressas pelos entrevistados.
[embedded video]
O Kuduro também serve para mostrar ao mundo alguns dos problemas sociais de Angola.
Durante a guerra civil angolana, as minas anti-pessoais (landmines) feriram milhares de
angolanos. O vídeo seguinte mostra vários mutilados de guerra a dançarem Kuduro.
[embedded video]
4.1. Dá tua opinião sobre o vídeo.
COLOCA AS TUAS RESPOSTAS NA TUA "DROPBOX".
APPENDIX E
Module 5 – East Timor
TIMOR-LESTE
O PAÍS MAIS JOVEM DO MUNDO
Lê o seguinte resumo da história de Timor-Leste.
[Clica aqui para leres o mesmo texto com anotações de vocabulário]
A ilha de Timor possui uma longa e orgulhosa história assim como uma rica cultura
construída ao longo de séculos. Foi referida por alguns como “a convergência cultural do
Oriente”, devido à influência de vários grupos étnicos que contribuíram para o
desenvolvimento da ilha. A ilha de Timor cedo atraiu comerciantes chineses e malaios – com
presença desde o século XIII – pela abundância de sândalo, mel e cera. Estas redes
comerciais levaram a casamentos com famílias reais locais, contribuindo para a riqueza
étnico-cultural da ilha. Os mesmos recursos naturais trouxeram os portugueses até esta
região em 1512. Aos comerciantes seguiram-se os missionários e a religião católica é agora
predominante.
Durante o século XVI vários reis cristianizados colocaram-se sob o protectorado
português e, no início do século XVIII, chegou o primeiro governador português a Timor.
Esta influência resultou na colonização da ilha, e particularmente a região de Timor-Leste,
por mais de 400 anos. Em 1915, um acordo entre Portugal e a Holanda terminou os
conflitos entre os dois países, em relação às fixando as fronteiras dentro da ilha. Durante a
Segunda Guerra Mundial, os Aliados (australianos e holandeses) envolveram-se numa dura
guerra contra as forças japonesas em Timor.
Algumas dezenas de milhar de timorenses deram a vida lutando ao lado dos Aliados.
Em 1945, a Administração Portuguesa foi restaurada em Timor-Leste. A 28 de Novembro de
1975, após uma breve guerra civil, a República Democrática de Timor-Leste foi proclamada.
Apenas uns dias depois, a 7 de Dezembro de 1975, a nova nação foi invadida pela
Indonésia que a ocupou durante os 24 anos seguintes.
MASSACRE DE DILI. No dia 12 de Novembro de 1991, o exército indonésio disparou sobre
manifestantes que homenageavam um estudante morto pela repressão no cemitério de
Santa Cruz, em Díli. Cerca de 200 pessoas foram mortas no local. Outros manifestantes
foram mortos nos dias seguintes, "caçados" pelo exército da Indonésia. Em 30 de Agosto de
1999, os timorenses votaram por esmagadora maioria pela independência, terminando 24
anos de ocupação indonésia, na sequência de um referendo promovido pelas Nações
Unidas. Em 20 de Maio de 2002 a independência de Timor-Leste foi restaurada e as Nações
Unidas entregaram o poder ao primeiro Governo Constitucional de Timor-Leste.
[embedded video]
Este filme foi realizado pelo repórter Max Stahl. Após ter filmado o massacre, Max Stahl
escondeu a cassete no cemitério. Foi depois apoiado pelo Padre português João de Deus
Pires, que o escondeu em sua casa, e todos os dias montava e desmontava a motorizada
que Stahl utilizava para ir a Dili, para que os militares indonésios não identificassem o seu
esconderijo. Max informou o padre onde tinha escondido a cassete vídeo, e aquele
deslocou-se ao cemitério,retirou a cassete do seu esconderijo e escondeu-a na suas vestes,
para depois a passar para o exterior do país. AVISO: O filme apresenta algumas cenas
chocantes pela sua violência.
Hoje, uma rica e diversa comunidade de Timor-Leste mostra as suas mais variadas e
diferentes influências históricas proporcionando calorosas e amigas boas-vindas a todos,
agora que, finalmente, o País encontrou a paz. Timor-Leste está rapidamente a ganhar a
reputação de ser um dos mais seguros, senão o mais seguro, destinos do Sudoeste Asiático.
Adaptado de http://www.turismotimorleste.com/pt/sobre/historia/
2.
3.
4.
5.
Que países dividiram o controlo da ilha, no acordo do início do século XX?
O que aconteceu no cemitério de Santa Cruz?
Como se percebe o catolicismo dos timorenses?
Timor-Leste é hoje um país pacífico?
COLOCA AS TUAS RESPOSTAS Aqui
AUTHOR’S BIODATA
Ricardo Vasconcelos is an assistant professor of Portuguese language and Luso-Brazilian
literature and culture at the University of Wisconsin, Milwaukee, where he also coordinates
the Portuguese program. He holds a Ph.D. in Luso-Brazilian literature, with an emphasis in
Applied Linguistics, from the University of California, Santa Barbara. He completed his M.A.
in Modern and Contemporary Portuguese Literature, and a B.A. in Portuguese and English
Literature and Language, with an emphasis in Education, at the University of Porto
(Portugal). His publications include the book Campo de Relâmpagos – Leituras do Excesso
na Poesia de Luís Miguel Nava (Lisbon: Assírio e Alvim, 2009), and articles and reviews
published in Language Learning and Technology, Diacrítica, Portuguese Literary and Cultural
Studies, Relâmpago, and Revue critique de philologie romane, among other journals.
AUTHOR’S ADDRESS
E-mail: [email protected]
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Multimedia Activities in L2 Course Websites

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