6 resultados para Artistic correspondences

em University of Queensland eSpace - Australia


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Fifth-grade children were given a series of word reading tasks. First, two sets of 16 disyllabic words with medial VCV spellings, and with a long initial vowel were selected, varying in frequency but with similar word-initial segments. Nonwords were derived from these sets of words by exchanging initial onsets. Children read these nonwords in a first testing session. In a second test session, children were given the Woodcock Word Identification Test and the set of analogue words from which the nonwords were derived. Initial analyses examined only nonwords derived from words that were correctly read. Both sets of nonwords were more likely to be read with a long initial vowel than a short initial vowel, although this tendency was stronger in nonwords derived from high frequency words. Furthennore, Word Identification ability showed a strong relationship with the preference for long initial vowels in this type of disyllabic nonword, both for nonwords derived from known analogues and for nonwords derived from words that children could not read correctly. This preference was also correlated with the preference for context-sensitive grapheme-phoneme correspondences in the reading of ambiguous monosyllabic nonwords.These results have strong implications for current theories of word reading.

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Based on Reddy's third-order theory, the first-order theory and the classical theory, exact explicit eigenvalues are found for compression buckling, thermal buckling and vibration of laminated plates via analogy with membrane vibration, These results apply to symmetrically laminated composite plates with transversely isotropic laminae and simply supported polygonal edges, Comprehensive consideration of a Winkler-Pasternak elastic foundation, a hydrostatic inplane force, an initial temperature increment and rotary inertias is incorporated. Bridged by the vibrating membrane, exact correspondences are readily established between any pairs of buckling and vibration eigenvalues associated with different theories. Positive definiteness of the critical hydrostatic pressure at buckling, the thermobukling temperature increment and, in the range of either tension loading or compression loading prior to occurrence of buckling, the natural vibration frequency is proved. (C) 2000 Elsevier Science Ltd. All rights reserved.

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Phonological processing skills have often been assumed to play a minimal role in skilled adult spelling despite evidence showing their importance in the development of spelling skills. The present study investigated the relationship between phonological awareness and spelling in adults. It was hypothesised that subjects demonstrating higher levels of spelling proficiency would also show superior phonological processing skills. This relationship was expected to be mediated by sound-spelling mapping knowledge. Given the irregularities of sound-spelling correspondences in English, it was also predicted that knowledge of orthographic conventions would be related to spelling competency. Two measures of each component skill were used on seventy three university students. As predicted, the importance of spelling-sound mapping skills in spelling were demonstrated, as was a relationship between phonological awareness and spelling-sound correspondences. In addition a moderate correlation was found between orthographic tasks and spelling performance. It was concluded that, among university students at least, phonological ability makes an important contribution to skilled adult spelling.

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The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre, for, by, and about young people outside the school context. Instead, 'new generation' approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural 'generationalism', particularly in larger arts organization as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a 'new generation' approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.