The twentieth century theatre, observations on the contemporary English and American stage,

Some of the material originally appeared in "The Yale Review," October 1911; "Old Penn," April 1916, and "The Art World," December 1916. cf. Pref.

The past and present state of dramatic art and literature;

Mode of access: Internet.

Illustrated catalogue of ... beautiful old English china and lustreware : belonging to the late Mr. Charles Wiley of East Orange, New Jersey.

Sale dates: January 10-11, 1921.

An introduction to the history of Chinese pictorial art,

"English and Chinese index to names": p. [173]-178.

The Art of the Contemporary Anti-Racist American Poem: ‘In-Between Spaces,’ Exploding Conventions, and Listening as Form

Thesis (Master's)--University of Washington, 2016-06

Designing a model for a corpus-driven dictionary of academic English

University students encounter difficulties with academic English because of its vocabulary, phraseology, and variability, and also because academic English differs in many respects from general English, the language which they have experienced before starting their university studies. Although students have been provided with many dictionaries that contain some helpful information on words used in academic English, these dictionaries remain focused on the uses of words in general English. There is therefore a gap in the dictionary market for a dictionary for university students, and this thesis provides a proposal for such a dictionary (called the Dictionary of Academic English; DOAE) in the form of a model which depicts how the dictionary should be designed, compiled, and offered to students. The model draws on state-of-the-art techniques in lexicography, dictionary-use research, and corpus linguistics. The model demanded the creation of a completely new corpus of academic language (Corpus of Academic Journal Articles; CAJA). The main advantages of the corpus are its large size (83.5 million words) and balance. Having access to a large corpus of academic language was essential for a corpus-driven approach to data analysis. A good corpus balance in terms of domains enabled a detailed domain-labelling of senses, patterns, collocates, etc. in the dictionary database, which was then used to tailor the output according to the needs of different types of student. The model proposes an online dictionary that is designed as an online dictionary from the outset. The proposed dictionary is revolutionary in the way it addresses the needs of different types of student. It presents students with a dynamic dictionary whose contents can be customised according to the user's native language, subject of study, variant spelling preferences, and/or visual preferences (e.g. black and white).

Teacher use of personal narratives in the Japanese university english language classroom

While storytelling in conversation has been extensively investigated, much less is known about storytelling in the English language classroom, particularly teachers telling their personal experience stories, termed teacher personal narratives in this study. Teacher personal narratives, a combination of the ancient art of human storytelling and the current practices of teaching, offer an innovative approach to language teaching and learning. This thesis examines teacher personal narrative use in Japanese university English language classrooms and is of relevance to both practicing classroom teachers and teacher educators because it explores the role, significance, and effectiveness of personal stories told by teachers. The pedagogical implications which the findings may have for language teaching and learning as well as for teacher education programs are also discussed. Four research questions were posed: 1. What are the characteristics of teacher personal narratives? 2. When, how, and why do language teachers use personal narratives in the classroom? 3. What is the reaction of learners to teacher personal narratives? 4. How do teacher personal narratives provide opportunities for student learning? A mixed methods approach using the tradition of multiple case studies provided an in-depth exploration of the personal narratives of four teachers. Data collection consisted of classroom observations and audio recordings, teacher and student semi-structured interviews, student diaries, and Japan-wide teacher questionnaires. Ninety-seven teacher personal narratives were analyzed for their structural and linguistic features. The findings showed that the narrative elements of orientation, complication, and evaluation are almost always present in these stories, and that discourse and tense markers may aid in student noticing of the input which can lead to eventual student output. The data also demonstrated that reasons for telling narratives mainly fall into two categories: affectiveoriented and pedagogical-oriented purposes. This study has shown that there are significant differences between conversational storytelling and educational storytelling.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.