Étant Ballet

Solo Exhibition, MacKenzie Art Gallery, Regina, Canada, The project engages with current issues around art production and food provision, catastrophe and agriculture, through the medium of a performance installation. Drawing on some of the characteristics of post dramatic theatre, the project aims to develop a new visual narratology for a contemporary art performance. A large scale video installation and construction features both as an installation site and performance set, explores the relationship between performance and food provision, looking at how changes to the organic world, the world of vibrant and edible matter might affect the way we make art. Developed and produced in collaboration with Canadian company Curtain Razors and funded by grants from Canada Council for the Arts, Saskatchewan Arts Board, the project was first commissioned by Curtain Razors and the MacKenzie Art Gallery where it was shown as a major solo exhibition as part of a series of other international programming (including artists such Guy Ben-Ner and Ron Mueck). The project was then included in the 4th Moscow Biennial as part of the landmark ‘Independent’ exhibition at the Art Arsenal in 2011. The project is planned to tour to varies other international venues throughout 2012/13. The exhibition has been reviewed by Gregory Beatty in Prairie Dog, Regina, by at the The Leader Post, The CBC French Canadian Television. Canadian writer curator Timothy Long artist and curator Elwood Jimmy have produced critical essays of the work, which will feature in a major new book, edited by Susanne Clausen, which is expected to be published in 2012. (OnCurating Publications).

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

Treatment of written verb and written sentence production in an individual with aphasia: A clinical study

Background: Although the efficacy of treatments for spoken verb and sentence production deficits in aphasia has been documented widely, less is known about interventions for written verb and written sentence production deficits. Aims: This study documents a treatment aiming to improve production of (a) written subject-verb sentences (involving intransitive verbs) and (b) written subject-verb-object sentences (involving transitive verbs). Methods & Procedures: The participant, a 63-year-old female aphasic speaker, had a marked language comprehension deficit, apraxia of speech, relatively good spelling abilities, and no hemiplegia. The treatment involved intransitive verbs producing subject-verb active sentences and transitive verbs producing subject-verb-object active non-reversible sentences. The treatment was undertaken in the context of current UK clinical practice. Outcomes & Results: Statistical improvements were noted for the trained sets of verbs and sentences. Other improvements were also noted in LW's ability to retrieve some non-treated verbs and construct written sentences. Treatment did not generalise to sentence comprehension and letter spelling to dictation. Conclusions: Our participant's ability to write verbs and sentences improved as a result of the treatment.

Analysing lexical richness in French learner language: what frequency lists and teacher judgements can tell us about basic and advanced words

We show how teacher judgements can be used to assess the quality of vocabulary used by L2 learners of French.

Knowledge and use of the lexicon in French as a second language

This special issue of JFLS focuses on what learners know about French words, on how they use that knowledge and on how it can be investigated and assessed. In many ways, it is a sequel to the special issue on the Acquisition of French as a Second Language edited by Myles and Towell that appeared in JFLS in 2004. While articles on the L2 acquisition of the French lexicon have appeared in a variety of journals, including JFLS, this special issue (SI) is the first volume which specifically focuses on lexical knowledge and use among learners of French as a second language. The issue is timely, because of the growing importance of vocabulary in the SLA research agenda, but also because research into vocabulary acquisition appears at the top of a list of areas in which teachers of Modern Foreign Languages are most interested.

Brussels French une fois: Transfer-induced innovation or system-internal development?

In language contact studies, specific features of the contact languages are often seen to be the result of transfer (interference), but it remains difficult to disentangle the role of intra-systemic and inter-systemic factors. We propose to unravel these factors in the analysis of a feature of Brussels French which many researchers attribute to transfer from (Brussels) Dutch: the adverbial use of une fois. We compare the use of this particle in Brussels French with its occurrence in corpora of other varieties of French, including several that have not been influenced by a Germanic substrate or adstrate. A detailed analysis of the frequency of occurrence, the functions and the distribution of the particle over different syntactic positions shows that some uses of une fois can be traced back to sixteenth-century French, but that there is also ample evidence for overt and covert transfer (Mougeon and Beniak, 1991) from Brussels Dutch.

Borrowing and shift-induced interference: contrasting patterns in French-Germanic contact in Brussels and Strasbourg

The main aim of the present article is to test hypotheses derived from the model for contact- induced language change as formulated in Thomason and Kaufman (1988 et seq.). As the model correctly predicts the asymmetries between the mutual influences of the Germanic and the Romance varieties in Brussels and Strasbourg it is a very powerful tool for describing the contact patterns in these cities. The analysis shows that the contact patterns are very similar, both from a quantitative and from a qualitative point of view, despite important differences in the sociolinguistic situation of both cities. The striking similarities in the outcome of language contact seem to find a plausible explanation in the fact that the language contact situations in both cities are similar from a typological point of view: in each city a variety of French is in contact with a Germanic variety (Alsatian and Brussels Dutch). Thus, the claim of the present article is that the structure of the languages plays a more prominent role in the outcome of language contact than the sociolinguistic history of the speakers.