Euphemism: Sweet Talking or Deception?

The aim of this paper is to shed light on euphemism in two different senses: sweet talking and deception. I shall treat euphemism from two different perspectives: the usual use of euphemism, sweet talking, in which it is used to maintain one's face and the orthophemistic sense, deception, where 'torture' is referred to as "enhanced interrogation techniques". I shall analyze examples, taken from religious, cultural, political backgrounds, on each case. Moreover, I shall talk about taboo since it is usually associated with euphemism. I shall talk about the referential (semantic) and expletive (pragmatic) aspects of swearing expressions. In this essay, I shall show that euphemism can be used in two different senses: sweet talking and deception.

Women of Substance : The Aspect of Education, Career and Female Identity in Pride and Prejudice and Bridget Jones's Diary

Although two hundred years separate Jane Austen and Helen Fielding and, subsequently, also their portrayals of society, the similarities outweigh the differences. When juxtaposing Pride and Prejudice and Bridget Jones’s Diary in the light of feminism it is evident that both books provide clear examples of the prevailing situation of women in each time and place. The aspects of the study, which are especially important today, show both the development and some degree of stagnation of women’s rights and identities.

Learning in and through drama : The necessity to use multiple theoretical perspectives in order to understand how learning takes place in drama

The complexity of learning implies that learning seldom is about just one thing. It can be said that learning processes are interdisciplinary. Within educational contexts, learning is not limited to constructed school subjects. In drama education, learning is simultaneously about drama as aesthetic expression and content because drama always is about something. The mainly focus can be on form, content or social aspects. The different aspects are always present, but may be more or less foreground or the background depending on the purpose of education. How do development concerning understanding of form, content, and social interaction, interact in a learning process in drama? My research is based on the view that learning at the same time takes place as an individual, internal process and a socially situated, inter-subjective process. Can learning in drama imply learning that can be transferred between different situations, a transformative learning and if so, how? Transformative learning includes cognitive, affective and corporal and social action aspects and means that the individual's frames of reference are transformed, evolved, to become more insightful and flexible which implies a change of personality. It leads to an integrated knowledge that can be applied in different contexts.   In the paper that will be presented at the conference, theories about how we learn in drama will be discussed in relation to my empirical research concerning drama and learning.