The abridged catalogue of the pictures in the National gallery:

Mode of access: Internet.

Twice-born men : a clinic in regeneration ; a footnote in narrative to Professor William James's "The varieties of religious experience" /

Mode of access: Internet.

A catalogue of pictures by British artists in the possession of Sir John Fleming Leicester, Bart. : with etchings from the whole collection, including the pictures in his gallery at Tabley house, Cheshire /

Includes mezzotint engravings.

Joseph Pennell's pictures in the land of temples : reproductions of a series of lithographs made by him in the land of temples, March-June 1913, together with impressions and notes by the artist.

Each plate preceded by leaf with title on recto, brief description on verso.

Token codeswitching and language alternation in narrative discourse: a functional-pragmatic approach

This study is concerned with two phenomena of language alternation in biographic narrations in Yiddish and Low German, based on spoken language data recorded between 1988 and 1995. In both phenomena language alternation serves as an additional communicative tool which can be applied by bilingual speakers to enlarge their set of interactional devices in order to ensure a smoother or more pointed processing of communicative aims. The first phenomenon is a narrative strategy I call Token Cod-eswitching: In a bilingual narrative culminating in a line of reported speech, a single element of L2 indicates the original language of the reconstructed dialogue – a token for a quote. The second phenomenon has to do with directing procedures, carried out by the speaker and aimed at guiding the hearer's attention, which are frequently carried out in L2, supporting the hearer's attention at crucial points in the interaction. Both phenomena are analyzed following a model of narrative discourse as proposed in the framework of Functional Pragmatics. The model allows the adoption of an integral approach to previous findings in code-switching research.

A linguistic resurrection? Aller + infinitive in narrative past contexts

This article studies the go periphrasis emerging in Contemporary French narrations and compares it with the narrative go periphrasis found in Middle French.

'Don't stop': re-thinking the function of endings in narrative television

This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. In this regard, this thesis proposes a model of intra-narrative endings, islands of cohesion, structure, and meaning located within television texts, as a possible solution to the problem of endings in television. These intra-narrative endings maintain the functionality of traditional endings, whilst also allowing for the specificities of television as a narrative medium. The first two chapters set out the theoretical groundwork, first by exploring the essential characteristics of narrative television (serialisation, fragmentation, duration, repetition, and accumulation), then by exploring the unique relationship between narrative television and the forces of contingency. These chapters also introduce the concept of intra-narrative endings as a possible solution to the problems of television’s narrative structure, and the medium’s relationship to contingency. Following on from this my three case studies examine forms of television which have either been traditionally defined as particularly resistant to closure (soap opera and the US sitcom) or which have received little analysis in terms of their narrative structure (sports coverage). Each of these case studies provides contextual material on these televisual forms, situating them in terms of their narrative structure, before moving on to analyse them in terms of my concept of intra-narrative endings. In the case of soap opera, the chapter focusses on the death of the long running character Pat Butcher in the British soap EastEnders (BBC, 1985-), while my chapter on the US sitcom focusses on the varying levels of closure that can be located within the US sitcom, using Friends (NBC, 1993-2004) as a particular example. Finally, my chapter on sports coverage analyses the BBC’s coverage of the 2012 London Olympics, and focusses on the narratives surrounding cyclists Chris Hoy and Victoria Pendleton. Each of these case studies identifies their chosen events as intra-narrative endings within larger, ongoing texts, and analyses the various ways in which they operate within those wider texts. This thesis is intended to make a contribution to the emerging field of endings studies within television by shifting the understanding of endings away from a dominant literary model which overwhelmingly focusses on the terminus of the text, to a more televisually specific model which pays attention to the particular contexts of the medium’s production and reception.

Imagens em narrativa: contraposição cultural e interdisciplinaridade no ensino fundamental

Com as transformações pelas quais passa o conhecimento científico na atualidade, a narrativa transformou-se em tema de relevância, quando se pesquisam questões relativas à construção de significado na experiência humana. Investigada como técnica de ensino junto a alunos de 6ª série de Botucatu, São Paulo, os quais foram confrontados com o ambiente urbano de Salvaterra, Ilha de Marajó, revelou que a força das oposições binárias, previstas teoricamente, estimula a reelaboração de conceitos prévios, revisão e resignificação de valores e de condicionamentos sociais. A narrativa como técnica de ensino propicia aprendizagem efetiva, com o espectador organizando a sequência de imagens apresentada e fazendo emergir significado de acordo com as suas experiências e estrutura cognitiva.

Book illustration, as (intersemiotic) translation: Pictures translating words

This article examines book illustrations through the prism of Translation Studies. It mainly suggests that the pictures in illustrated books are (intersemiotic) translations of the text and that, as such, they can be analyzed making use of the same tools applied to verbal interlingual translation. The first section deals with the theoretical bases upon which illustrations can be regarded as translations, concentrating on theories of re-creation, as illustration is viewed essentially as the re-creation of the text in visual form. One of the claims in this section is that, because illustration is carried out in very similar ways as interlingual translation itself, the term ""intersemiotic"" relates more to the (obvious) difference of medium. For this reason the word is most often referred to in parentheses. The second section discusses three particular ways through which illustrations can translate the text, namely, by reproducing the textual elements literally in the picture, by emphasizing a specific narrative element, and by adapting the pictures to a certain ideology or artistic trend. The example illustrations are extracted from different. kinds of publication and media, ranging from Virgil`s Aeneid, Lewis Carroll`s Alice in Wonderland and Mark Twain`s Adventures of Huckleberry Finn to an online comic version of Shakespeare`s Hamlet.

The Implied Book and the Narrative Text. On a Blind Spot in Narratological Theory - from a Media Studies Perspective

The article is concerned with the formal definition of a largely unnoticed factor in narrative structure. Based on the assumptions that (1) the semantics of a written text depend, among other factors, directly on its visual alignment in space, that (2) the formal structure of a text has to meet that of its spatial presentation and that (3) these assumptions hold true also for narrative texts (which, however, in modern times typically conceal their spatial dimensions by a low-key linear layout), it is argued that, how ever low-key, the expected material shape of a given narrative determines the configuration of its plot by its author. The ,implied book' thus denotes an author's historically assumable, not necessarily conscious idea of how his text, which is still in the process of creation, will be dimensionally presented and under these circumstances visually absorbed. Assuming that an author's knowledge of this later (potentially) substantiated material form influences the composition, the implied book is to be understood as a text-genetically determined, structuring moment of the text. Historically reconstructed, it thus serves the methodical analysis of structural characteristics of a completed text.

Discrimination of complex visual stimuli in Cebus apella: identity matching with pictures

Do capuchin monkeys respond to photos as icons? Do they discriminate photos of capuchin monkeys' faces? Looking for answers to these questions we trained three capuchin monkeys in simple and conditional discrimination tasks and tested the discriminations when comparison stimuli were partially covered. Three capuchin monkeys experienced in simultaneous simple discrimination and IDMTS were trained with repeated shifts of simple discriminations (RSSD), with four simultaneous choices, and IDMTS (1 s delay, 4 choices) with pictures of known capuchins monkeys' faces. All monkeys did discriminate the pictures in both procedures. Performances in probes with partial masks with one fourth of the stimulus hidden were consistent with baseline level. Errors occurred when a picture similar to the correct one was available among the comparison stimuli, when the covered part was the most distinct, or when pictures displayed the same monkey. Capuchin monkeys do match pictures of capuchin monkeys' faces to the sample. The monkeys treated different pictures of the same monkey as equivalent, suggesting that they respond to the pictures as icons, although this was not true to pictures of other monkeys. Subsequent studies may bring more evidence that capuchin monkeys treat pictures as depictions of real scenes.

In the council, regular session 1913-14 : Council Bill no. 255, introduced by Mr. Fletcher : first reading Oct 31, 1913; second reading Nov. 4, 1913; referred to Committee on Legislation : An ordinance [regarding motion pictures].

Bostwick, A.L. Censorship of motion picture films. Report to the City Council; p. 5-17.

Modern trends in education : syllabus for a teacher training course utilizing educational talking pictures,

Blank page for notes at end of each unit.

Motion pictures for teacher education : a manual for use in pre-service and in-service teacher education /

Cover title.