The role of self-teaching in learning orthographic and semantic aspects of new words

This study explores how children learn the meaning (semantics) and spelling patterns (orthography) of novel words encountered in story context. English-speaking children (N = 88) aged 7 to 8 years read 8 stories and each story contained 1 novel word repeated 4 times. Semantic cues were provided by the story context such that children could infer the meaning of the word (specific context) or the category that the word belonged to (general context). Following story reading, posttests indicated that children showed reliable semantic and orthographic learning. Decoding was the strongest predictor of orthographic learning, indicating that self-teaching via phonological recoding was important for this aspect of word learning. In contrast, oral vocabulary emerged as the strongest predictor of semantic learning.

An illustrative case study of precocious reading ability

This is a longitudinal case study of a child who taught herself to read before she went to school. This case study is drawn from a wider study of a group of precocious readers, all of whom had received no explicit instruction, but who had had positive literacy experiences in their homes. The subject of this study was able to read fluently at the age of 5 years and 4 months. Her reading was at least 5 years ahead of her chronological age and her spelling was 4 years ahead. Her reading speed was also very proficient. Moreover, tests indicated that her pseudoword reading was highly accurate and that she was highly proficient on a series of measures of phonemic awareness. Her performance was also assessed at the ages of 6, 7, and 11 years. She continued to show high levels of ability in all aspects of literacy. This study contrasts with recent case studies on very precocious readers who showed poor levels of phonological awareness and who were unable to spell at an early age.

Ancillary narratives: maids, sleepwalking, and agency in nineteenth-century literature and culture

The limited coverage of servants in nineteenth-century literature may plausibly be ascribed to the tenuous nature of the roles they play in primary texts, and especially to the problematic nature of their agency. This idea is implicit in the arguments of Bruce Robbins, whose The Servant’s Hand remains the most cogent approach to giving servants a palpable role in critical narrative: for Robbins, the agency that acts through the servant ‘prosthesis’ rebounds on the master, granting the servant figure a sometimes exorbitant textual agency. The figure of the sleepwalking maid, and the analogies between sleepwalking and domestic service implicit in it, will help to complicate this picture. In anecdotes of spontaneous sleepwalking, and their subsequent appropriation by mesmerists, maids are cast as non-agents in terms of ownership of narrative: their subjectivity is immaterial to the public fate of the story which their acts generate. But this apparent non-agency is itself derived from their spontaneity; from an autonomous, albeit unconscious, self-will. As such, sleepwalking subjectivity is a gift to paternalism; a mastery it does not have to produce. In conclusion, it is this undetermined quality, rather than a simple lack of agency, that characterizes the maid in the novel, and which continues to exclude domestic servants from critical narrative.

Virgil's fourth Eclogue and the visual arts

Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ‘messianic’ eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media — perhaps more often than has sometimes been supposed.

'Salve, magna parens': Virgil’s 'laudes Italiae' in Renaissance Italy and beyond

This article traces three major strands in the reception of the address to Italy at the end of Virgil’s laudes Italiae in Book II of the Georgics. The first is the adoption of phrasing from these lines as the basis for expressions of devotion to the writer’s country (and for panegyric of contemporary rulers), or in inverted form to lament the present state of the author’s homeland; the second is the appropriation of Virgil’s hymnic apostrophe to his patria in poems on religious themes, where language from this passage is harnessed to invoke the supreme deity or the Virgin Mary, another magna parens; and the third is the use of Virgilian terminology to celebrate Virgil himself as the mighty parent of poetry and poets, whose words (including those of the lines under discussion) have inspired the literary endeavours of his successors across Europe and beyond throughout subsequent centuries.

Online orthographies

The representation in online environments of non-Roman-based script languages has proved problematic. During the initial years of Computer-mediated Communication, the American Standard Code for Information Interchange character set only supported Roman-alphabeted languages. The solution for speakers of languages written in non-Roman scripts was to employ unconventional writing systems, in an effort to represent their native language in online discourse. The first aim of this chapter is to present the different ways that internet users choose to transliterate or even transcribe their native languages online, using Roman characters. With technological development, and consequently the availability of various writing scripts online, internet users now have the option to either use Roman characters or their native script. If the latter is chosen, internet users still seem to deviate from conventional ways of writing, in this case, however, with regards to spelling. The second aim, therefore, is to bring into light recent developments, by looking at the ways that internet users manipulate orthography, to achieve their communicative purposes.

The Golden Age returns: Virgil's fourth Eclogue in the political panegyric of the Italian courts

E. H. Gombrich and others have analysed the uses made of language and imagery from Virgil's famous fourth Eclogue in panegyrical writing by partisans of the Medici dynasty in Florence. This study examines the appropriation of the theme of the returning Golden Age and related motifs from the fourth Eclogue in other Italian courts during the same period, by supporters of the Visconti and Sforza of Milan, the Gonzaga of Mantua, Leonello d'Este and his successors in Ferrara, and the Bentivoglio of Bologna, among others. The deployment of this Virgilian material in political panegyric is seen to be a central element in the self-definition and self-promotion of dynastic rulers throughout the peninsula.