Unlocking the Power of ChatGPT: Navigating the Promises and Perils for Teachers in Second Language Writing assessment
Abstract: The existing body of research within the field of English language education and Artificial Intelligence demonstrates the potential of AI to enhance students’ speaking skills, bolster reading comprehension, and boost motivation. Yet, little emphasis has been placed on the teacher’s viewpoint in the context of AI, and investigations into ChatGPT’s role as a writing assessment tool remain at an early stage of development. This study investigates the promises and perils of ChatGPT in assisting teachers with assessing student academic writing at a Japanese university.
Students were given an agree/disagree essay question based on the TOEFL Independent writing task’s principles that asks them to provide their opinion on a given topic. The teacher graded the student essays with reference to TOEFL’s Independent Writing Rubric. This was followed up with an experiment to assess how ChatGPT would evaluate the essays using the same rubric.
Although ChatGPT followed the evaluation rubric well and showed significant improvement with relevant prompts, mistakes, and occasional disparities between the human rater and ChatGPT were made. Given these disparities, it remains essential to underscore the importance of maintaining a human-centered approach in AI-enhanced formative assessment. ChatGPT can offer valuable support but should not be seen as a complete substitute for the human rater.
<Q&A 15:30-15:40>
15:45-16:05
小泉 勇人（東京工業大学）
“How do civilized human beings participate in destructive, inhumane acts?”ー 映画Experimenter(2015)で学ぶミルグラム実験 ー
英語教育で用いる映画には娯楽性が期待されることも多いが、CLILの観点からは、社会の諸問題や歴史をヴァーチャルに体験する英語教育も可能であろう。例えばヴェトナム戦争（深津、2017）、アメリカ資本主義（横山、2020）、ジェンダーロール（吉村、2022）に注目した内容言語統合型学習の研究が進められてきている中、当発表では社会心理学を主題とする映画Experimenter（2015）に注目する。かつてハンナ・アーレントがナチズムに見た「悪の凡庸さ」を心理実験で実証しようとするStanley Milgram博士の半生を描く本作であるが、本発表の狙いは、これを「ホロコースト」を考える特異な英語テキストとして位置づけることにある。Milgram博士が「第四の壁」を破る場面を取り上げ、その背後を非現実的に徘徊する巨像の表象を論じつつ、慣用句“elephant in the room”の含意を読み解きたい。
<Q&A 16:05-16:15>
16:20-17:20
Ryan Spring (Tohoku University)
Sachiko Nakamura (Tohoku University)
Workshop: How to Make Better Videos for Your Classes Part 2: Camera Proximity
Using video materials in language classes is an effective way for students to learn practical English. We can use movies, dramas, and YouTube videos, but we always need to consider limitations based on copyrights or other legal concerns. And also, it is sometimes difficult to find appropriate videos which include particular points we want to teach in class. Making our own videos can be the solution to those concerns, and many teachers have begun making original videos to contextualize words and phrases for their students. By doing so, we can prepare materials that are specifically tailored to the points our students need to learn. However, if videos are not made well enough, students will lose interest and might become bored with them. In this series, you can learn how to make quality videos using simple tools that most teachers have; a cell phone, a computer, and other simple items. In Part 2, we are going to teach you about camera distance. This will be an active workshop; you are going to shoot a video with your smartphone, learn some tips about camera distance, and re-shoot the same video using what you have learned.
Announcement of Call for Presentations for the 2nd Special Tohoku Area Study Session of ATEM (The Association of Teaching English through Multimedia)
The East Japan branch of ATEM will be holding its second Tohoku area study session at Sendai Kyoritsu Daiichi Building in September, and we are now starting the call for presentations at this meeting. Please check the details below and apply, or just come to the session if interested.
Time and Date: September 23rd (Sunday), from 1:00 PM (not fixed)
Deadline for applying for presentation: August 30th (Thursday)
Acceptable applications: This study session does not have a specifically set theme, so we will be accepting as many applications as we can regarding the use of multimedia and visual media (from videos to movies to music to digital media) and how it can be used in the EFL or foreign language classroom. The three general areas of presentation are: practical classroom application, materials development, and language teaching theory. If you have any questions, please ask through the e-mail provided below. Presentations should be about 20 minutes long, allowing for about 10 minutes for questions and answers and 10 for changing speakers.
To apply to speak at this meeting, please e-mail the following information to Sachiko Nakamura at: sachiko.nakamura.b6 {at mark} tohoku {dot} ac {dot} jp.
Presentation title (in the language that you will be presenting in)
Name(s) of all presenters
The affiliation(s) of all presenters
Contact information (preferred e-mail address and phone number in case of emergency)
Abstract (400 characters or less if in Japanese, or about 200 words in English)
Indirect speech acts can be difficult for learners. This is especially true in Japan, where students are often told that English is a ‘straight’ language where people express their true thoughts and feelings very directly. However, this is not really true, and English does employ indirect speech, especially for politeness. Furthermore, although the expressions seem very simplistic, EFL learners do not always recognize the intent of the speaker when one of these expressions is used. For example, “I don’t know” is often used to express disagreement, dissatisfaction, or refusal, and is signaled in part by the fact that the speaker very much DOES know. Consider example (1) below:
(1) I don’t know if I like that color.
Of course, the speaker knows whether or not they like the color (in fact, they are the only one who possibly COULD know whether or not they like it). Therefore, this expression is likely not being used to signal uncertainty so much as disagreement or dissatisfaction with the given color. However, since “I don’t know” is a very common phrase, many learners assume they already know the phrase and all of the situations and contexts it can occur in, despite not being aware that it does not always indicate uncertainty.
Since indirect speech is often used as a politeness strategy in conversations in English, it is important to understand the context in which the phrase or expression is used. Therefore, the ATEM East Japan Branch SIG on “How the English of Movies, TV Dramas, and YouTubes Can Contribute to the Development of Practical English Education” used the COCA corpus to find several examples of expressions commonly used in indirect speech and examples of these used in spoken contexts (i.e., mainly from the television and movies section of the corpus). We recontextualized the examples to be in very neutral settings and to have just enough information that they could be made into short video clips. We then filmed two short videos for each expression and uploaded them to a searchable YouTube channel:
We also implemented these videos within a series of multi-modal flashcards that allow users to check what type of indirect speech act each expression is, hear and practice speaking an example, and also provide the video clips that represent the expressions being used in conversational contexts. The multi-modal flashcards are also available here:
We hope the videos and flashcards might be helpful for other learners in the future!
-Ryan Spring, on behalf of the members of the ATEM East Japan Branch SIG “How the English of Movies, TV Dramas, and YouTubes Can Contribute to the Development of Practical English Education” (Atsuko Otsuki, Keina Hamagami, Sachiko Nakamura, Ryan Spring)
You are kindly asked to register through the following Google Form byJune 30 if you would like to join the meeting online. You will be informed of Zoom ID & Pass later.
https://forms.gle/HpisVbLn3JQiPXfX9
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13:00-13:15 発表者リハーサル（希望者のみ） Rehearsal for presenters (optional)
[An android Ava in Ex Machina (2014) seduces a young programmer called Caleb into helping her escape from a research facility, but it is unclear how Ava perceives herself. Another AI named “Samantha” in Her (2013) becomes the secretary, advisor, and girlfriend of Theodore (et al.) but her amazing “romantic power” (?) exceeds that of “humans.” The latter ends with a suggestion that Theodore may rediscover his relationship with a “human” woman. Are these films nostalgic in that they suggest the importance of “human” relationships, as Anneke Smelik (2016) says, or is there a possibility of “posthumanism” in Her? This will be a topic for discussion in a class focusing on film studies or cultural studies.]
≪Q&A: 13:40~13:45≫
2．13:50~14:10
塚田三千代（翻訳・映画アナリスト）
『ファンタスティック・ビースト 魔法使いの旅』の授業活用への提言
[“Fantastic Beasts and where to find them, 2016” for the classroom use]
[Newt Scamander travels the world to investigate magical animals. Before publishing the research, he stopped in New York on his way back to London in 1926. He has the purpose of letting thunderbirds rescued in Egypt shortly before being trafficked, lease back into the wild in its natural habitat in Arizona. Inside Newt’s brown leather trunk are Franny and other magical animals, but they pop out and Newt gets involved in an unexpected situation. In the streets of New York, cracks in the ground and buildings collapse, gaseous phenomena occur one after another, and No-Maji (Normal humans) make a fuss saying “witches are to blame” and handing out leaflets. The United States Magical Parliament (MACUSA) is on alert for the arrival of a black hazy object called Obscurus. The film conveys the messages of environmental protection, recovery, career women, racial diversity, and support for individual entrepreneurs. Because it symbolizes a diverse culture, it is applied to the classroom use of the four skills and communication skills.]
≪Q&A: 14:10~14:15≫
3．14:20~14:40
関口 美緒 （名古屋大学・メリーランド大学（UMGC)）
英語・多言語話者の言語スイッチ稼働と言語使用における一考察
[A study on the language switch operation and language usage of English and other language speakers]
[This study will present the results of a study on how language switching works in the brain of native speakers of foreign languages or multilingual speakers when they speak and understand Japanese. The impact on language use and acquisition will be considered in the result.]
Significant Changes in the Hokkaido Public High School Entrance Examinations
Abstract:
In March 2022, the entrance examinations for Hokkaido public high schools changed radically. The entrance exams mainly aimed to check the applicants’ knowledge of school subjects. However, the current exams focus on their thinking process, judgment, and ability to express thoughts rather than just what they know.
A geography exam may be a typical example to show you a new way of testing. The following is a Geography test regarding Senri New Town, built in the 1960s on the outskirts of Osaka. Seeing a lot of data, including graphs, applicants must answer the following questions: Why was Senri New Town built? How was Senri New Town 30 years later? They must read the documents and think and express their thoughts.
The following is an example of an English exam. The applicants must understand information on how to go to the baseball stadium from the hotel. There are four ways: bus, train, taxi, and walking. They have to choose one and write the reasons. High schools want to examine their thinking, judgment, and expression abilities.
I will also discuss the usefulness of smartphones (visual media) for entrance
examination preparation. They can be a good weapon for students to conquer
these kinds of significant changes. I will show you how to use them for the
entrance examinations.
≪Q&A: 15:15~15:20≫
5．15:25~15:45
MCAULAY Alexander （Graduate School of International Social Sciences, Yokohama National University）
Nurturing Creativity through the Use of Image-driven Short Films
Abstract:
Commentators note various benefits when using creative writing with English learners, such as raised critical consciousness (Stillar 2013), increased motivation (Smith 2013), and improved acquisition of grammatical structures (Pelcova 2015). This practice-based presentation will outline how image-driven short films can be successfully utilized in the Japanese university classroom to nurture creativity and introduce students to creative writing. The craft of screenwriting requires the writer to communicate on the page images and information that will be seen on screen. In this presentation, I will briefly explain the concept of visual storytelling. I will then describe a course for university juniors and seniors that makes use of image-driven short films, film clips, and visual storytelling techniques to unlock students’ creativity. I will introduce samples of work done by students on the course.
≪Q&A: 15:45~15:50≫
6．16:00~17:00
＜Workshop: How to Make Better Videos for Your Classes Part 1: Framing＞
SPRING Ryan (Tohoku University)
NAKAMURA Sachiko (Tohoku University)
Abstract:
Video materials are a great way for EFL students to learn practical usage of English. However, we often have particular points we want to teach, and we might (1) not know where to find an appropriate video clip that shows the word in use, or (2) have limitations based on copyrights or other legal concerns. For these reasons, many teachers have begun making their own videos to contextualize words and phrases for their students. Furthermore, creating original videos allows you to prepare teaching materials that are specifically tailored to the skills your students need, which can be extremely beneficial. These days, it is getting easier and easier to make videos as well, since advances in technology provide us with cheap cameras and editing software. However, many of us are not professional videographers, and so the videos we make may not seem as high quality or exciting as professionally made ones. If we don’t do a good job of making our videos, they lose the added visual cues that can help learners when learning words and phrases, and students might soon become bored with them. Therefore, it is in our best interest to make the highest quality videos that we can. In this series, we want to help you to improve your filming ability so that you can provide high quality videos to your students using simple tools that most teachers have; a cell phone, a computer, and other simple items.
In Part 1, we are going to teach you about framing and mise-en-scene. Rather than just talk about it, we are going to have everyone make a simple video with us, learn to plan for shots, make simple story boards, and then we are going to re-shoot the same video using what we’ve learned. We will then compile the examples with editing so that everyone can see the difference. Please join this workshop and get hands-on experience!
Call for Presentations at the ATEM Higashinihon Chapter Study Meeting on July 1, 2023
Dear ATEM Members:
ATEM Higashinihon Chapter will hold a Study Meeting at Reitaku University Shinjuku Satelite Campus, on July 1 (Sat.), 2023. We are planning on making the meeting hybrid, but this is subject to change depending on circumstances, so please check the website for details.
We are calling for presentations on English education (language education) that uses visual and/or audio multimedia including movies, TV dramas,
Youtube, etc. Your presentation should focus on class activities, the
development of language teaching materials, theoretical or empirical
studies, or cross-cultural communication studies, etc.
Each presentation will be 20 minutes with 5 to 10 minutes of Q and A. (This may be adjusted depending on the number of presentations and the related projects. Please note that you will be notified of your presentation request (acceptance or rejection) approximately one week after the application deadline.
We will contact you about the details later.
Application Period: May 22 to June 5, 2023
Acceptance notice will be sent by email around a week after the application deadline.
We would appreciate it if presenters could come to the venue as much as possible to avoid possible networking problems. If you wish to make an online presentation from outside the venue, please inform us at the time of application.
When submitting a proposal, please provide the following information by an attached Word file to the ATEM Higashinihon Chapter Office
1 Please title your email as “ATEM Higashinihon Presentation Proposal.”
2 Presentation title
3 Name
4 Affiliation
5 Email address
6 Language of presentation
7 Abstract （400 letters in Japanese or 200 to 300 words in English; As for a presentation in Japanese, we would appreciate a very brief description in English.)
何も不幸じゃないのに、不幸だ。You’ll be dead、お前はもう死んでいる。殺されるまでもなく、心が死んでいる。そして、ついに「僕」は無二の親友タイラー・ダーデンと劇的な出会いを果たす。バーでぬるそうなビールを飲む二人。物を所有することにしか楽しみを見いだせないと呟く「僕」にタイラーは遠慮しない———“The things you own end up owning you” (てめえの持ちもんに支配されてどうする)。 おまけに、バーの外でタイラーは “I want you to hit me as hard as you can”（できるだけ力強く俺を殴れ）と僕に奇怪な頼み事をしてくるじゃないか。
“Hit me as hard as you can”がファイト・クラブ始動のきっかけだった。戸惑いながらヒョロついたパンチを繰り出すと、間違ってタイラーの耳を殴りつけちゃった。仕返しとばかりみぞおちを思いっきり殴り返された僕は、なんとも言えない高揚感を覚える。また殴りたい。いや殴られたい。もっとだ、もっとやってくれ。もっとやろうぜ。ファイトクラブ創設の瞬間だ。「僕」とタイラーがバーの地下を借りて主催するファイトクラブに鬱憤を抱えた男たちが夜な夜な集まり、素手で一対一の殴り合いに興ずるようになる。最高に絶望だ。
タイラーは日常を生きる人々にさえファイトを仕掛ける。ある夜、タイラーは「僕」を連れてコンビニに押し入り、レイモンド K. ハッセルという名の若い店員を外に引きずり出して頭に銃口を押し当てる。“What did you want to be, Raymond K. Hassell?” （お前は何になりたいんだ？）と尋ねるタイラー。「じ、じっ、、じゅ獣医ですっ！」と無我夢中で答える気の毒なハッセル君。顔は恐怖に引き攣り、死がもう目の前に迫る。弾丸が脳髄にめり込んでぐちゃぐちゃに破壊するまで一秒もない——タイラーは銃を下ろす。
Gonna check in on you. I know where you live. If you’re not on your way to becoming a veterinarian in six weeks, you’ll be dead.
冒涜的で反社会的な描写に満ちた『ファイト・クラブ』は案の定、1999年の公開時に大きな物議を醸す。高名な映画評論家ロジャー・イーバートをして「最も率直かつ快活な、売れる俳優を起用したファシスト映画（the most frankly and cheerfully fascist big-star movie）」で、「暴力礼賛（a celebration of violence）」で、「マッチョポルノ（macho porn）」だと言わしめる（rogerebert.com, 1999）が、もはや褒めているのか貶しているのかよく分からない。しかし大事なことは、イーバートにファイトする気持ちがあるかどうかだ（イーバートにはあると思う）。To fight, or not to fight – that is the question; ————世界一高名なデンマークの王子がかつて僕らに問うていたことは、つまりはそういうことではなかったかTo be, or not to be – that is the question;の後に続く台詞はどうであったか。
Whether ‘tis nobler in the mind to suffer
どちらが人間らしい生き方だろう、
The slings and arrows of outrageous fortune,
不条理な運命に殴られても黙ったままでいるべきか、 Or to take arms against a sea of troubles,
押し寄せる困難の大波に向かって無謀にも殴りかかって And by opposing end them?
決闘を挑むべきか？ (以上、筆者による意訳)
確かに『ファイト・クラブ』は多様な解釈に耐えもすれば殴りかかりもする、実に刺激的な映画だ。消費主義社会と現代人の共依存関係に鋭く切り込む批評性はその一例であり、冒頭に引用したタイラー・ダーデン（Brat Pitt）の台詞“Gonna check in on you. I know where you live. If you’re not on your way to becoming a veterinarian in six weeks, you’ll be dead.”は観客の脳味噌にへばりつく。直訳すれば「お前のことを見ているからな。お前の住んでいる所はわかっている。もし6週間経っても獣医になる勉強をしていなかったら、お前は死ぬことになる」といったところ。you’ll be deadとは言ったものの、you（ハッセル君）を殺すのはタイラーその人である（ちなみに戸田奈津子は「ブッ殺す」と訳している）。check in on…は「（人・物の様子を積極的に）うかがう」、be on your way to …ingは「…をしている途中だ」で良いが、「お前の道の上（on your way）にいる」と直訳する方がむしろ格好いい。veterinarianは「獣医」。
さてタイラーの言葉の力強さを上手く日本語に変換できないものか。「お前は見張っとく。住所はわかってる。6週間たっても獣医の勉強してなきゃ、お前はもう死んでいる。」としてみたが、これではまだまだひよっこの日本語か。タイラーにボコられるのがオチである。台詞を解釈するなら、「明日があると思うな、今日の内にお前が本当にやりたいことをやれ！」ということになる。なんのことはない、『今を生きる』（Dead Poets Society, 1989）で提唱されたcarpe diem（Seize the day）がファイト・クラブの本質だったのか。『今を生きる』と『ファイト・クラブ』に近似性があるだって？冗談もほどほどにしなさいという向きもあろうが、しかし遡及的に見れば、あの生徒達はキーティング先生にcarpe diemを教えられるまではどことなく「僕」のように見えやしないだろうか。現に、彼らが最終場面で果敢にファイトを仕掛けることで映画の幕が閉じるのが『今を生きる』である。同じロビン・ウィリアムズ主演でも、『パッチ・アダムズ』（Patch Adams, 1998）が「もう一つのファイト・クラブ」こと『セシル・B/ザ・シネマ・ウォーズ』（Cecil B. Demented, 2000）に喧嘩を売られた事態とは大違いである（後者の映画に出てくる映画テロリスト達が『パッチ・アダムズ』の上映館に乗り込んで映画テロリズムをかますくだりがある。何を言っているかわからないと思いますがその通りのことが起こります。気になる方はご覧ください）。
話を元に戻すと、気の毒なハッセル君は獣医になりたかったにも関わらず、(環境のせいか本人のせいかはともかく)コンビニバイトで日銭を稼ぎ、勉強時間も捻出できずに日々を(死んだように)生きている。タイラーはそんなハッセル君に銃口を突きつけ、危機的状況に突き落とすことで真の欲望を強烈に再認識させる。実現に向かって死に物狂いで現実に立ち向かうよう発破をかける漢タイラー・ダーデン。だから、解放されて全力疾走で逃げるハッセル君の背中を見送る「僕」に理由を聞かれてタイラーはうそぶく——“Tomorrow will be the most beautiful day of Raymond K. Hessel’s life. His breakfast will taste better than any meal you and I have ever tasted. （明日はレイモンド K. ハッセル君にとって極上の1日になるだろうよ。奴の朝飯は、俺達がこれまでに食ったどんな飯よりも美味いに違いない）。
タイラーの極端すぎる「教育」は現実には到底容認できない。これを教育現場でやらかす狂人を見たければ『ブラックスワン』(Black Swan 2010)や『セッション』(Whiplash, 2014)を見よう。しかし、この場面を見た我々は、日々の雑務の中で人生の使命を見失いそうになっているかもと訝しみ、ほんの僅かでも、それでも前に向かって踏み出そうとする。“If you’re not on your way to becoming a veterinarian in six weeks, you’ll be dead.”を自分自身に向かって呟く言葉として、脳味噌に書き付けよう。“becoming a veterinarian”を自分がしたいこと、なりたいものを示す言葉に、“six weeks”を実現のための目標期限に置き換えれば、自分を鼓舞するパワフルな英語が出来上がる。英借文だ。ここでの代名詞“you”は、もちろんファイトを仕掛ける者、つまり我々を指す。ファイトしようぜハッセル君。『ファイト・クラブ』は今でもなおTo fight, or not to fight？と問いかけている。
