Social identities and law students' writing

This paper argues that social identities, discursively speaking, consist of ‘positions’ that are individuated by distinctive linguistic features. These include distinctive patterns of representation indicated by clause structure and type, a set of priorities for attending to what is important indicated by thematic structure, and an orientation to the represented world and to self as indicated by modality, propositional attitudes and tense. A social identity comprises an array of these often contradictory ‘positions’ associated with a social or professional role. A person’s identity is constituted dynamically by the way they ‘reconcile’ the various positions that make up the social identity, and also, as Archer and Ivanic argue, by the way they reconcile a social with a personal or autobiographical identity. It is argued that this process of reconciliation gives clues about identity formation in the traces it leaves in grammatical texture.

This paper uses a simulated letter of advice to a client written by a group of first year law students to explore the discursive construction of social or professional identity. This letter is poorly written and full of grammatical mistakes and infelicities. It is argued that the mistakes provide a linguistic trace of the students’ struggle to reconcile the conflicting roles and positions they occupy as authors of the letter. In particular the students’ problems result from a struggle to reconcile their multiple positions as: students writing for assessment by a tutor about a legal problem, as a simulated firm of solicitors advising to a client, and as potential litigators anticipating the future course of events in their simulated moot court appearance.

Raat Ki Rani : nightclubs, vamps and urban transgressive spaces in Hindi cinema

This paper considers how city spaces in Hindi cinema have repeatedly been viewed as sites of transgressive sexual experience, particularly via representations of female sexuality in nightclubs and the flagrant performances of the women or ‘vamps’ that inhabit them. Emerging in Hindi cinema in the 1950s, and becoming a staple in films of the 1960s and 1970s, the ‘vamp’ became synonymous with unrestrained sexuality and the immorality of the city. The dichotomy between the idealised, bucolic, timeless village and the city as an icon of degenerate modernity was repeatedly seen in Hindi cinema, and the strongest signifier of this urban immorality was the ‘vamp’ who was seen as an outsider, and connoted urban vice, excess and desire. By and large the actresses that played ‘vamps’ (such as the blonde haired and blue eyed Helen) were of ‘Western’ appearance. The cabaret and nightclub were thus seen as being ‘Western’ in origin. This paper discusses how this was perhaps a response to colonial and Orientalist stereotyping, where the ‘Indian’ woman and the ‘Western’ woman operated as binary oppositional structures. Such oppositions were clearly present in nightclub dance performances, which were full of meaning to the cinematic audience, who would be able to ‘read’ the seductive, gyrating and explicit movements. This paper decodes examples of the movements in these ‘decadent’ performances, as it was through these movements and performances that the ‘westernised vamp’ became firmly located in urban transgressive spaces, closely tied with national anxiety about the depravity of city spaces.

Fruiting bodies

Reaching out wins young minds

Brendan Russell, 15, always imagined universities as difficult places full of book learning and little hands-on learning, daunting for the budding information technology professional, none of whose family has been to university.

Punctuation and spelling in learners' writing

Despite their apparent straightforwardness, certain features of language seem almost less teachable. The learners’ writing is often full of minor errors on surface features that make it hard for the reader to make sense of it, let alone appreciate its content. These language features are taught to students of English during their first two years of education at university. However, whether these courses accomplish that goal to an acceptable point is questionable.

The present study focuses on two such aspects of writing, punctuation and spelling, in the writing of advanced level students at an Iranian University. For this purpose, three different subject groups are chosen from among those who have passed Grammar and Writing I, Grammar and Writing II, and Advanced Writing. Using a recognition-production (henceforth R-P) and a composition task, the performance of these groups is compared in various aspects of punctuation. For the measurement of spelling, a descriptive approach is taken based on the misspellings observed in the students' compositions. These errors are classified according to their assumed causes, and frequency counts are performed for the words of each category. The results of the punctuation and spelling tasks are compared across test items, subject groups and task types, using various statistical means. Overall, it was found that the courses mentioned above did not make much contribution to the development of the students’writing in terms of spelling and punctuation.

Glassimations

Glassimations, an exhibition of contemporary Australian artworks that bridge the materials of glass and animation to produce works with qualities that are unique to these two mediums and yet create a dialogue between them. The exhibition includes the work of a variety of artists. Lee Whitmore paints on glass to achieve an animated image that metamorphs with its own unique movement; Tom Moore animates his blown glass creations into their own world; Deirdre Feeney animates onto her glass architectural forms to produce places of light that condense time and are full of intangible narrative; Mark Eliott and Jack McGrath collaborate to bring their understanding and skills of glass and animation together, creating works that are founded in the production processes of both materials; and Lienors Torre and Alastair Boell collaborate to create animated films that become objects of glass and furniture, able to occupy real spaces in our domestic lives.

Devious intimacy

Devious Intimacy combines a sly, playful wit with a melancholic tenderness to navigate the complex terrain of difficult feelings. Vickery’s poems move effortlessly between the private world of love and sexuality to wider forms of connection, teasing out how past histories and literature underscore contemporary human bonds and how we imagine ourselves in light of neighbours, nationhood, and the environment. From Abstract Expressionism to Test Cricket, Vickery’s poetry delves into that which delights and intrigues us, both celebrating and critiquing our everyday routines and aesthetic modes of reception. Wry, smart, and bristling with acute observation, Devious Intimacy is a beguiling mix of charm and charge.