Efficacy Of An Explicit Handwriting Program

The aim of this study was to investigate the effects of an explicit handwriting program introduced during the first grade of elementary school. Grade 1 children (N=23) with an age range of 6.1 to 7.4 yr. (15 girls, 8 boys) were administered an additional handwriting program of two weekly sessions of 45 min. over six weeks. Another group of 19 Grade 1 children (11 girls, 8 boys) received only the regular handwriting program of one weekly session. The Concise Assessment Scale for Children's Handwriting was administered to measure the changes in quality and speed of handwriting. The children given the explicit program showed better quality and speed of handwriting than did the control group. Their handwriting was more regular, with fewer ambiguous letters and fewer incorrect relative heights.

Le dialogisme intertextuel des contes des Grimm

Ute Heidmann Le dialogisme intertextuel des contes des Grimm Préalables pour une enquête à mener « Le caractère le plus important de l'énoncé, ou en tous les cas le plus ignoré, est son dialogisme, c'est-à-dire sa dimension intertextuelle », constate Todorov en référence à la conception dialogique du langage proposée par Bakthine. Cet article introductif postule que ce constat s'applique aussi aux contes des Grimm. En partant des recherches déjà menées sur Apulée, Straporola, Basile, Perrault, La Fontaine et Lhéritier*, il présente des concepts (réponse intertextuelle, reconfiguration générique et scénographie en trompe-l'oeil) dont il illustre l'efficacité pour l'analyse des Kinder- und Hausmärchen. L'analyse de la préface de 1812 montre que les Grimm créent une scénographie pour légitimer le genre des Kinder- und Hausmärchen en les présentant comme des contes "d'origine" qui auraient "poussé" comme des plantes dans leur région et qu'ils n'auraient fait que "collecter". Cette scénographie en trompe-l'oeil permet de dissimuler le fort impact des contes européens et notamment français sur les Kinder- und Hausmärchen. Leurs commentaires paratextuels permettent en revanche de retracer ces dialogues intertextuels qui ne se limitent pas à imiter les "voix déjà présentes dans le choeur complexe" des narrateurs des contes déjà racontés, mais qui créent des effets de sens nouveaux et significativement différents en guise de réponse aux "histoires ou contes du passé", comme l'avaient déjà fait Charles Perrault avant eux. *(dans Féeries 8 et Textualité et intertextualité des contes, Editions Classiques Garnier 2010) "The most important feature of the utterance, or at least the most neglected, is its dialogism, that is, its intertextual dimension" states Todorov in reference to Bakthin's dialogical conception of human speech. Ute Heidmann's introductory essay argues that this applies also to the Grimm's tales. Extending her former theoretical and intertextual investigation on Apuleius, Straporala, Basile, Perrault, La Fontaine and Lhéritier*, she proposes a series of conceptual options (as intertextual response, scenography, trompe l'oeil, generic reconfiguration, discursive strategy) that can efficiently be used for the work on the Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm. The article shows how the Grimms skilfully construct a highly suggestive scenography and topography for the new generic form thus creating the idea of a genuine tale, having grown naturally in the earth of their own region and how it is efficiently used to dissimulate the strong impact of the European and namely the French fairy tales on the Grimm's tales. The extensive paratextual commentaries are shown to serve the same purpose. Once these strategies are "deconstructed" as such, the way is free to trace the very complex intertextual dialogues with already existing Italian, French, German tales, that underlie the Kinder- und Hausmärchen. Comparative textual analysis can then make us discover, that these dialogues are from just "imitating" "the many other voices already present in the complex chorus" of fairy tale writers and narrators: they actually create new and different meaning by responding to them. * (in Féeries 8, Textualité et intertextualité des contes, Classiques Garnier 2010)

Are Simple Signatures So Easy to Simulate?

Is it possible to perfectly simulate a signature, in the particular and challenging case where the signature is simple? A set of signatures of six writers, considered to be simple on the basis of highlighted criteria, was sampled. These signatures were transferred to forgers requested to produce freehand simulations. Among these simulations, those capable of reproducing the features of the reference signatures were submitted for evaluation to forensic document experts through proficiency testing. The results suggest that there is no perfect simulation. With the supplementary aim of assessing the influence of forger's skills on the results, forgers were selected from three distinct populations, which differ according to professional criteria. The results indicate some differences in graphical capabilities between individuals. However, no trend could be established regarding age, degrees, years of practice and time dedicated to the exercise. The findings show that simulation is made easier if a graphical compatibility exists between the forger's own writing and the signature to be reproduced. Moreover, a global difficulty to preserve proportions and slant as well as the shape of capital letters and initials has been noticed.

India in Translation through Hindi Literature. A Plurality of Voices

What role have translations from Hindi literary works played in shaping and transforming our knowledge about India? In this book, renowned scholars, translators and Hindi writers from India, Europe, and the United States offer their approaches to this question. Their articles deal with the political, cultural, and linguistic criteria germane to the selection and translation of Hindi works, the nature of the enduring links between India and Europe, and the reception of translated texts, particularly through the perspective of book history. More personal essays, both on the writing process itself or on the practice of translation, complete the volume and highlight the plurality of voices that are inherent to any translation. As the outcome of an international symposium held at the University of Lausanne, Switzerland, in 2008, India in Translation through Hindi Literature engages in the building of critical histories of the encounter between India and the «West», the use and impact of translations in this context, and Hindi literature and culture in connection to English (post)colonial power, literature and culture.

Surrogate science: The idol of a universal method for scientific inference

The application of statistics to science is not a neutral act. Statistical tools have shaped and were also shaped by its objects. In the social sciences, statistical methods fundamentally changed research practice, making statistical inference its centerpiece. At the same time, textbook writers in the social sciences have transformed rivaling statistical systems into an apparently monolithic method that could be used mechanically. The idol of a universal method for scientific inference has been worshipped since the "inference revolution" of the 1950s. Because no such method has ever been found, surrogates have been created, most notably the quest for significant p values. This form of surrogate science fosters delusions and borderline cheating and has done much harm, creating, for one, a flood of irreproducible results. Proponents of the "Bayesian revolution" should be wary of chasing yet another chimera: an apparently universal inference procedure. A better path would be to promote both an understanding of the various devices in the "statistical toolbox" and informed judgment to select among these.

Gustav Hasford's Gothic Poetics of Demystification

Gustav Hasford is the author of two important Vietnam War novels: The Short-Timers (1979), which was adapted by Stanley Kubrick into Full Metal Jacket (1987), and The Phantom Blooper (1990), its sequel. Relentlessly critical of the war that destroyed his generation, Hasford uses an array of Gothic themes, tropes and figures - such as the werewolf, vampire, and ghost - to describe the transformation of men into monsters that begins with basic training and can never be reversed. These and other Gothic devices allow Hasford to demystify and disenchant the Vietnam War, to strip it of euphemisms and official myths, and to reveal the violence that lays beneath. Unlike other well-known writers of the same generation, such as Michael Herr and Chris O'Brien, Hasford eschews postmodern techniques in order to pursue a rhetorical strategy of horror combined with black humor. The results are two novels of extraordinary ferocity, critical acumen and wit. The chapter concludes with an analysis of the specifically Gothic reading experience of ethical dilemma - a Gothic exercise in judgment - choreographed by both narratives.