Response of the child with autism to preferred prosody during instruction

It has been found that incorporating preferences leads to improvements in target skills for children with autism. No studies have been found, however, that assess the preferences of children for prosody of teacher instruction. Prosody has been defined by fluency of speech, modification of pitch and stress of syllables. This research assessed the preference for, and effectiveness of, prosody of instruction by teachers of children with autism. The preferences of children with autism for monotone, conversational and enthusiastic voice prosodies were assessed. The children's teachers made recording of their own voice reading a story passage in the three selected prosodies. The children with autism were requested to listen to these recordings and select a preferred prosody over thirty three trials. Chi square analyses were conducted to determine the significant preferences from these trials. The selections of prosody of the children with autism were compared with the selections of typical children of the same age. Significant preferences were found for three children with autism and seven typical children. The three children with autism with significant preferences were observed in their classrooms. Teachers were cued with flashcards to use the different prosodies and the children's responses were recorded. An additional twenty instructions were recorded in which the teachers were not given a cue for voice prosody Chi square and Fisher's exact tests indicated that children's preferences did not influence their responses to prosody during classroom instruction. In other words the response in class was not related to prosody preference. Overall children were more likely to not respond to the monotone prosody. The enthusiastic and conversational prosodies were equally effective. Therefore it was concluded that continued and varied use of enthusiastic and conversational prosodies during classroom instruction would be effective for children with autism. It was recommended that future research focus on evaluating the effectiveness of variety of prosody for children with autism.

Language processing and acquisition in languages of Semitic, root-based, morphology / Joseph Shimron

This book addresses a fundamental question in the morphological analysis and representation of Semitic languages—namely, whether Semitic word morphology is root based or word based. As Shimron suggests, “there are reasons to view the templates, not the roots, as the more influential factor in determining Semitic morphology” (p. 5). Yet, as others would argue, there are reasons not to disregard the root-based hypothesis altogether. In the case of Arabic morphology, for example, verbal forms inherently contain three nonlinear levels: the consonantal root, the vowel pattern, and the templatic prosody. This nonlinear feature provided a perfect illustration of what has become termed in the literature as root-and-patterns morphology (McCarthy & Prince, 1986, 1990).

'Unconscionable mystification'? : rooms, spaces and the prose poem

Since the 19th century, when a number of French writers—most conspicuously Charles Baudelaire and Arthur Rimbaud—introduced what we may think of as the modern prose poem into European literature, prose poetry has been part of a significant debate about the contemporary usefulness of existing literary modes and genres. While early French practitioners partly used the form to subvert and problematise traditional poetic prosody, once this aim was achieved prose poetry remained a significant contemporary literary form, achieving wide acceptance. In the context of contemporary developments and manifestations of prose poetry, this article discusses John Frow’s comments that texts might “‘perform’ a genre, or modify it in ‘using’ it, or only partially realise a generic form, or … be composed of a mix of different genres” (2015: 11). It also discusses the authors’ Rooms and Spaces project, which explores—and exemplifies through its component of creative practice—ways in which prose poetry may be considered “poetic”; how the forms of prose poetry may be room-like and condensed; or open and highly suggestive (sometimes both at once); how prose poetry is intertextual and polysemous; and how prose poetry frequently conveys a sense of completeness despite tending to be fragmentary. Prose poetry may generically problematic but the authors suggest that this may make it an exemplary post-postmodern form of writing; and that reading prose poetry may provide significant insights into understanding how unstable genre boundaries really are.