Life of St. Vincent of Paul, founder of the Congregation of the Mission and of the Sisters of Charity / M. Collet... ; translated from the French by a Catholic clergyman.

http://www.archive.org/details/lifeofstvincento00colluoft

The church's mission in the world, by Louis and Andrâe Râetif. Translated from the French by Reginald F. Trevett.

http://www.archive.org/details/churchsmissionin013224mbp

Study abroad and complexity, accuracy and fluency (CAF) development: a longitudinal investigation of French and Chinese Learners of L2 English

This longitudinal study tracked third-level French (n=10) and Chinese (n=7) learners of English as a second language (L2) during an eight-month study abroad (SA) period at an Irish university. The investigation sought to determine whether there was a significant relationship between length of stay (LoS) abroad and gains in the learners' oral complexity, accuracy and fluency (CAF), what the relationship was between these three language constructs and whether the two learner groups would experience similar paths to development. Additionally, the study also investigated whether specific reported out-of-class contact with the L2 was implicated in oral CAF gains. Oral data were collected at three equidistant time points; at the beginning of SA (T1), midway through the SA sojourn (T2) and at the end (T3), allowing for a comparison of CAF gains arising during one semester abroad to those arising during a subsequent semester. Data were collected using Sociolinguistic Interviews (Labov, 1984) and adapted versions of the Language Contact Profile (Freed et al., 2004). Overall, the results point to LoS abroad as a highly influential variable in gains to be expected in oral CAF during SA. While one semester in the TL country was not enough to foster statistically significant improvement in any of the CAF measures employed, significant improvement was found during the second semester of SA. Significant differences were also revealed between the two learner groups. Finally, significant correlations, some positive, some negative, were found between gains in CAF and specific usage of the L2. All in all, the disaggregation of the group data clearly illustrates, in line with other recent enquiries (e.g. Wright and Cong, 2014) that each individual learner's path to CAF development was unique and highly individualised, thus providing strong evidence for the recent claim that SLA is "an individualized nonlinear endeavor" (Polat and Kim, 2014: 186).

BOULANGER, SATIE, AND DEBUSSY: THEIR SPHERES OF INFLUENCE ON FRENCH MELODIE AND AMERICAN ART SONG

This dissertation project explored the spheres of influence on art song by Nadia Boulanger, Erik Satie, and Claude Debussy within Boulangeries, Les Six, and Les Apaches. After World War I, American composers flocked to Paris to study with Boulanger. Boulanger gave her students the confidence to explore their native talents instead of mimicking foreign models. Works by Aaron Copland, Virgil Thomson, Theodore Chanler, John Duke, and Richard Hundley were included in the first dissertation recital on January 31, 2010: The Legacy of Nadia Boulanger: Her Influence on American Song Composers. Satie established a new modern French musical style, and was a catalyst for the formation of Les Six. Ned Rorem came to Paris, and had a close association with Les Six. Works by Satie, and three members of Les Six, Francis Poulenc, Arthur Honegger, Darius Milhaud; and Rorem were featured in the second recital on September 1, 2010: Satie, Selected Members of Les Six, and Rorem in Paris. Debussy was one of the most significant French composers in the late nineteenth century, predating Boulanger and Satie. Young composers exploring new directions were inspired by Debussy, forming the group Les Apaches. The final recital, April 7, 2011, featured works by Debussy and two members of Les Apaches, Maurice Ravel and Manuel de Falla: Debussy: A Catalyst for Les Apaches, Ravel and Falla. Falla‘s less well-known repertoire was presented. This dissertation showed the influence of these three major figures and that they embraced innovation in their own time, along with their followers. Recordings of these three performances may be obtained from the Michelle Smith Performing Arts Library in Clarice Smith Performing Arts Center at the University of Maryland, College Park.

FLUTE MUSIC FROM THE MID-TWENTIETH CENTURY BY THREE FRENCH COMPOSERS: JEAN-MICHEL DAMASE, ANDRE JOLIVET, AND HENRI TOMASI

Jean-Michel Damase (b.1928), Andre Jolivet (1905-1974), and Henri Tomasi (1901-1971) are three prominent French composers ofthe twentieth century. Tomasi won the Prix de Rome in 1927, and Damase won the Prix de Rome in 1947. All three composers were educated and lived in Paris around the same period; however, their musical styles are quite distinct. Most of Jolivet's compositions for flute are well known and are often selected as international competition repertoire. The compositions for flute by Damase and Tomasi are not as recognized as those of Jolivet, and most of their works for flute still have not been commercially recorded. The purpose of this dissertation is to provide a more comprehensive guide to the compositions for flute by Damase, Jolivet and Tomasi, and, in addition, to make the works ofDamase and Tomasi familiar to flutists. This dissertation will focus on the compositions ofDamase, Jolivet, and Tomasi for flute alone and those for flute and piano, written between 1928 and 1971 (1928 is the year Damase was born, and 1971 is the year that Tomasi died). Damase continues French romanticism, and his music is always playful, elegant, and accessible with rhythmic and harmonic surprises, but with an underlying complexity. His compositions for flute include three concertos, two double concertos, one flute solo work, and nine works for flute and piano. Jolivet's compositions make use of ancient rituals, incantations, and spirituality, as well as repeated phrases and single notes, irregular rhythmic patterns, dissonant effects, and rhythmic drive. He composed one flute concerto, three works for flute solo, and four works for flute and piano. Tomasi's compositions also continue French romanticism and contain melodies which often seem to tell a story, and which are not only full of flourishes and vitality, but are also delicate, colorful, and romantic. Virtuosic technical demand is another characteristic of his style. Tomasi composed three flute concertos, three works for solo flute, and one work for flute and piano. Appendix I is a list of the compositions for flute by Damase, Jolivet, and Tomasi, and Appendix II is a discography of their works.

A GOLDEN AGE: FRENCH AND SPANISH CELLO MUSIC FROM SAINT-SAENS TO CASSADO

Motivated by both the delicacy of French music, such as La Mer by Claude Debussy, and the exotic atmosphere of Spanish music, such as Zigeunerweisen by Pablo Sarasate, I decided to investigate the characteristics of French and Spanish cello music from Camille Saint-Saens to Gaspar Cassad6. French cello music flourished from the end ofthel9th to the middle of the 20th century because of the innovation of many unprecedented techniques and experimentation with a variety of sonorities. The Spanish were heavily influenced by the French due to the geographical connection. Cello virtuosi like Auguste Tolbecque, August Franchomme, Pierre Fournier, and Paul Tortelier inspired composers of their day, creating a "golden age" of cello music. This dissertation consisted of three recitals in Gildenhom Recital Hall. The first recital was held on May lOth, 2007 at 5:30pm with pianist David Ballena. The second recital was held on October 14th, 2007 at 2pm with collaborators Minna Han, piano and Jenny Wu, violin. The third recital was held on March 301 2008 at 5:30 with pianist Naoko Takao. Here is the program of the recitals: The first recital: Gabriel Faure(1856-1924): Sonate pour Violoncello et Piano Op.109(1917) Gaspar Cassad6 (1897-1966): Suite per Violoncello Solo (1926) Claude Debussy (1862-1918): Sonate pour Violoncelle et Piano (1915) The second recital: Manuel de Falla (1876-1946): Melodia (1897), Romanza (1898) Camille Saint-Saens (1835-1921): Concerto for Cello and Orchestra No.1 in A minor Op.33 (1873) Maurice Ravel (1875-1973): Sonata for Violin and Cello (1920-22) The third recital: Pablo Casals (1876-1973): Song of the Birds (1925) Edouard Lalo (1823-1892): Concerto for Cello and Orchestra in D Minor (1877) Franscis Poulenc (1899-1963): Sonata for Cello and Piano Op.l43(1940-48)

INNOVATIONS IN FRENCH CHAMBER MUSIC AND MÉLODIE (1886 – 1962) – A COLLABORATIVE PIANIST’S PERSPECTIVE

French chamber music in the last quarter of the nineteenth century displayed significant advances in musical innovations and technical developments. As the Parisian public began to favor instrumental music and mélodie over opera, vocal and chamber music with piano became one of the main genres to express French composers’ creativity and individuality. The composers Franck, Debussy, Fauré, Duparc, Ravel, Chausson and Poulenc were the major contributors to this unusually creative period in French music. French mélodies of this period blend precision with lyricism, and demand the performer’s elegance and wit. They show careful settings of the French language’s rhythmic subtleties and increased expressiveness in and importance of the piano accompaniment. The chamber works of this period demanded superior pianistic and instrumental virtuosity while displaying wide ranges of sonority, multiple tone colors, and rhythmic fluidity. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on 27 October 2006, All Nations Mission Church (Dayton, NJ) on 5 December 2009, and the Leah M. Smith Lecture Hall of the University of Maryland on 11 May 2010. The repertoire included Poulenc’s Sonata for Oboe and Piano (1962) with oboist Yeongsu Kim, French mélodies by Fauré, Chausson, Debussy, Ravel and Duparc with soprano Jung-A Lee and baritone Hyun-Oh Shin, Poulenc’s Sextet for Piano, Flute, Oboe, Clarinet, Bassoon and Horn (1932-1939) with flutist Katrina Smith, clarinetist Jihoon Chang, bassoonist Erich Heckscher, hornist Heidi Littman and oboist Yeongsu Kim, Debussy’s Sonata for Cello and Piano (1915) with cellist Ji-Sook Shin, Poulenc’s Sonata for Violin and Piano (1942-1949) with violinist Ji-Hee Lim, Franck’s Sonata for Violin and Piano (1886) with violinist Na-Young Cho, Ravel’s Piano Trio (1915) with cellist Ji-Sook Shin and violinist Yu-Jeong Lee and Ravel’s Sonata for Violin and Piano (1927) with violinist Yu-Jeong Lee. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

Heat balances and thermally driven lagoon-ocean exchangeson a tropical coral reef system (Moorea, French Polynesia)

© 2015. American Geophysical Union. All Rights Reserved.The role of surface and advective heat fluxes on buoyancy-driven circulation was examined within a tropical coral reef system. Measurements of local meteorological conditions as well as water temperature and velocity were made at six lagoon locations for 2 months during the austral summer. We found that temperature rather than salinity dominated buoyancy in this system. The data were used to calculate diurnally phase-averaged thermal balances. A one-dimensional momentum balance developed for a portion of the lagoon indicates that the diurnal heating pattern and consistent spatial gradients in surface heat fluxes create a baroclinic pressure gradient that is dynamically important in driving the observed circulation. The baroclinic and barotropic pressure gradients make up 90% of the momentum budget in part of the system; thus, when the baroclinic pressure gradient decreases 20% during the day due to changes in temperature gradient, this substantially changes the circulation, with different flow patterns occurring during night and day. Thermal balances computed across the entire lagoon show that the spatial heating patterns and resulting buoyancy-driven circulation are important in maintaining a persistent advective export of heat from the lagoon and for enhancing ocean-lagoon exchange.

Biological and physical interactions on a tropical island coral reef: Transport and retention processes on moorea, French Polynesia

The Moorea Coral Reef Long Term Ecological Research project funded by the US National Science Foundation includes multidisciplinary studies of physical processes driving ecological dynamics across the fringing reef, back reef, and fore reef habitats of Moorea, French Polynesia. A network of oceanographic moorings and a variety of other approaches have been used to investigate the biological and biogeochemical aspects of water transport and retention processes in this system. There is evidence to support the hypothesis that a low-frequency counterclockwise flow around the island is superimposed on the relatively strong alongshore currents on each side of the island. Despite the rapid flow and flushing of the back reef, waters over the reef display chemical and biological characteristics distinct from those offshore. The patterns include higher nutrient and lower dissolved organic carbon concentrations, distinct microbial community compositions among habitats, and reef assemblages of zooplankton that exhibit migration behavior, suggesting multigenerational residence on the reef. Zooplankton consumption by planktivorous fish on the reef reflects both retention of reef-associated taxa and capture by the reef community of resources originating offshore. Coral recruitment and population genetics of reef fishes point to retention of larvae within the system and high recruitment levels from local adult populations. The combined results suggest that a broad suite of physical and biological processes contribute to high retention of externally derived and locally produced organic materials within this island coral reef system. © 2013 by The Oceanography Society. All rights reserved.

The island-scale internal wave climate of Moorea, French Polynesia

Analysis of five-year records of temperatures and currents collected at Moorea reveal strong internal wave activity at predominantly semi-diurnal frequencies impacting reef slopes at depths 30m around the entire island. Temperature changes of 1.5C to 3C are accompanied by surges of upward and onshore flow and vertical shear in onshore currents. Superimposed on annual temperature changes of approximately 3C, internal wave activity is high from Oct-May and markedly lower from Jun-Sep. The offshore pycnocline is broadly distributed with continuous stratification to at least 500m depth, and a subsurface fluorescence maximum above the strong nutricline at approximately 200m. Minimum buoyancy periods range from 4.8 to 6min, with the maximum density gradient occurring at 50 to 60m depth in summer and deepening to approximately 150 to 200m in winter. The bottom slope angle around all of Moorea is super-critical relative to the vertical stratification angle suggesting that energy propagating into shallow water is only a portion of total incident internal wave energy. Vertical gradient Richardson numbers indicate dominance by density stability relative to current shear with relatively limited diapycnal mixing. Coherence and lagged cross-correlation of semi-diurnal temperature variation indicate complex patterns of inter-site arrival of internal waves and no clear coherence or lagged correlation relationships among island sides. Semi-diurnal and high frequency internal wave packets likely arrive on Moorea from a combination of local and distant sources and may have important impacts for nutrient and particle fluxes in deep reef environments. © 2012 American Geophysical Union. All Rights Reserved.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.

Delivering processing instruction in classroom and virtual contexts

Processing Instruction (PI) is an approach to grammar instruction for second language learning. It derives its name from the fact that the instruction (both the explicit explanation as well as the practices) attempt to influence, alter, and/or improve the way learners process input. PI contrasts with traditional grammar instruction in many ways, most principally in its focus on input whereas traditional grammar instruction focuses on learners' output. The greatest contribution of PI to both theory and practice is the concept of "structured input", a form of comprehensible input that has been manipulated to maximize learners' benefit of exposure to input. This volume focuses on a new issue for PI, the role of technology in language learning. It examines empirically the differential effects of delivering PI in classrooms with an instructor and students interacting (with each other and with the instructor) versus on computers to students working individually. It also contributes to the growing body of research on the effects of PI on different languages as well as different linguistic items: preterite/imperfect aspectual contrast and negative informal commands in Spanish, the subjunctive of doubt and opinion in Italian, and the subjunctive of doubt in French. Further research contributions are made by comparing PI with other types of instruction, specifically, with meaning-oriented output instruction.

Grammar acquisition and processing instruction: Secondary and cumulative effects

Research on Processing Instruction has so far investigated the primary effects of Processing Instruction. In this book, the results of a series of experimental studies investigating possible secondary and cumulative effects of Processing Instruction on the acquisition of French, Italian and English as a second language will be presented. The results of the three experiments have demonstrated that Processing Instruction not only provides learners the direct or primary benefit of learning to process and produce the morphological form on which they received instruction, but also a secondary benefit in that they transferred that training to processing and producing another morphological form on which they had received no instruction.

Why do we struggle when we try to learn a language as adults?

Whereas the acquisition of a first language is successful for normally developing individuals, native-like attainment in a language learnt as adults is not guaranteed. As far as grammar is concerned, the area that typically shows up as more problematic is that of Morphology, and more specifically, that part of Morphology related to the specific ways languages have to indicate notions like temporal location (e.g. English –-ed for past tense She walked) or person agreement (e.g. English –s for the third person singular She sings). Language students and teachers are familiar with exclamations like “Oh, after so many years I still have problems with the past tenses in Spanish!” or “I cannot cope with the masculine/feminine thing in French!” In this talk I will present two different accounts that are currently debated in the field of Second Language Acquisition about why it is not enough to memorize those “blessed endings” for us to master their use in our speech production. I will also introduce the latest study I have conducted in collaboration with colleagues, with the aim of evaluating the explanatory power of the hypotheses debated in current literature. [From the Author]

Loris Gréaud — french and fanciful

Review of ICA exhibition by Loris Gréaud