Women and writing c1340-c1650; the domestication of print culture

The transition from medieval manuscript to early printed book is currently a mmajor topic of academic interest, but has received little attention in relation to women's involvement. The essays in this volume both add female names to the list of those authors who created English Literature, and examine women's responses to older texts. Taking its cue from the advances made by recent work on manuscript culture and book history, this volume also includes studies of material evidence. These reveal women's participation in the making of books, and also the traces they left behind when handling individual volumes. Finally, studies of women's roles in relation to apparently ephemeral texts, such as letters, pamphlets and almanacs, challenge traditional divisions between public and private spheres and between manuscript and print.

Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

Home in British working-class fiction

Offering new readings of working-class writing that focus on the home as a key emotional and material site in writing by working-class authors from the Edwardian period through to the mid-1990s. With close readings of The Ragged Trousered Philanthropists, works by D. H. Lawrence, Ethel Carnie Holdsworth, Ellen Wilkinson, Lewis Grassic Gibbon, Walter Brierley, Alan Sillitoe, John Braine, Nell Dunn, Sam Selvon, Sid Chaplin, Buchi Emecheta, Pat Barker, Jeanette Winterson, James Kelman and many others. The book demonstrates the importance of ideas of home and its narrative representation to the making and expression of class feeling and identity.

Formulaic sequences in native and non-native argumentative writing in German

Whereas there is substantial scholarship on formulaic language in L1 and L2 English, there is less research on formulaicity in other languages. The aim of this paper is to contribute to learner corpus research into formulaic language in native and non-native German. To this effect, a corpus of argumentative essays written by advanced British students of German (WHiG) was compared with a corpus of argumentative essays written by German native speakers (Falko-L1). A corpus-driven analysis reveals a larger number of 3-grams in WHiG than in Falko-L1, which suggests that British advanced learners of German are more likely to use formulaic language in argumentative writing than their native-speaker counterparts. Secondly, by classifying the formulaic sequences according to their functions, this study finds that native speakers of German prefer discourse-structuring devices to stance expressions, whilst British advanced learners display the opposite preferences. Thirdly, the results show that learners of German make greater use of macro-discourse-structuring devices and cautious language, whereas native speakers favour micro-discourse structuring devices and tend to use more direct language. This study increases our understanding of formulaic language typical of British advanced learners of German and reveals how diverging cultural paradigms can shape written native speaker and learner output.

Making the tacit explicit: children's strategies for classroom writing

A key highlight of this study is generating evidence of children ‘making aware the unaware’, making tacit knowledge explicit. The research explores the levels of awareness in thinking used by eight 7–8 year-old children when engaged in school-based genre writing tasks. The focus is on analysing children’s awareness of their thought processes, using a framework originally devised by Swartz and Perkins (1989), in order to investigate ways in which children can transform their tacit knowledge to explicit within the writing process. Classroom ‘think aloud’ protocols are used to help children ‘manage their knowledge transfer’, to speak the unspoken. In their framework Swartz and Perkins distinguish between four levels of thought that they view as hierarchical and ‘increasingly metacognitive.’ However, there is little evidence in this study to show that levels of awareness in thinking are increasingly progressive and observations made during the study suggest that young writers move in and out of the suggested levels of thinking during different elements of a writing task. The reasons for this may depend on a number of factors which are noted in this paper. Evidence does suggest children in this age group are consciously aware of their own and others’ thought processes both with and without adult prompting. By using collaborative talk, their awareness of these thought processes is highlighted enabling the co-construction and integration of new ideas into their existing knowledge base.

The travel imagination and the hybrid reality in the wake of colonialism

The “traveling imagination,” is of paramount importance to both western and postcolonial travelers. Since both groups create “travel imaginations” by extensive reading, the nature of the books that inform them must directly affect their travels. A westerner, for example, who reads only colonial-era accounts has the “travel imagination” of a different generation. If all perspectives were represented equally in libraries, the “travel imagination” of a given person would be entirely his/her own. But usually the “traveler’s imagination” is biased by prevailing opinion. Libraries are not democracies, and sometimes extensive reading only indoctrinates the reader with the biases of the canon. Perhaps the following generalization will be helpful. Westerners are able to create “traveling imaginations,” based on the books they trust. But postcolonials, who have reason to be suspicious of what they read, have complicated “traveling imaginations.” Sometimes postcolonial travelers base their “traveling imaginations” on what they read, and sometimes, in opposition to what they read. The books discussed in this thesis, In Patagonia, The Cruise of the Shark, The Happy Isles of Oceania, A Passage to England and The Enigma of Arrival, were first published in, 1977, 1939, 1992, 1971 and 1987, respectively, in what Ali Behdad calls the “age of colonial dissolution.” Perhaps it would be more accurate to say these books are set in the “age of colonial demolition.” For the most part, the empires in these texts are in ruins, or at least in the process of being dismantled. In fact, two of the authors, Nirad Chaudhuri and V.S. Naipaul are canonical post-colonial thinkers.

Women writing Ireland, 1798 – 1921: il popular novel tra identità nazionale e immaginario religioso nelle autrici cattoliche e protestanti.

La presente tesi si concentra sul romanzo popolare irlandese scritto da donne, nel periodo compreso tra il 1798 e il 1921. Quattro sono le autrici prese in considerazione: Charlotte Elizabeth Tonna, Sydney Owenson (meglio conosciuta come Lady Morgan), Edith Somerville e Katharine Tynan, le cui vite e opere coprono un periodo storico fondamentale per l’uscita dell’Irlanda dal dominio coloniale britannico e la formazione della nazione irlandese nel sud del paese. L’interesse principale è quello di analizzare il modo in cui nei loro testi prende forma la nazione, e in particolare attraverso quali immagini e riferimenti religiosi. Il senso è quello, dunque, di rileggere tali testi prestando maggiore attenzione alla religione, uno dei principali collanti tra autrici e pubblico: all’epoca in cui l’Irlanda stava acquisendo i confini che oggi ancora mantiene, esisteva un terreno d’incontro tra discorso politico e letterario, quello della nazione, e tale terreno veniva attraversato anche dal messaggio religioso. Il fine ultimo è quello di dimostrare che la letteratura popolare non è “seconda” ad altre quanto a valori che è in grado di trasmettere e a messaggi che è in grado di veicolare: trascurarla significa non capire i meccanismi attraverso i quali una società si sviluppa e si modifica.

Myth creation in textbook writing : the case of randomised controlled trials in medical research

Textbooks, across all disciplines, are prone to contain errors; grammatical, editorial, factual, or judgemental. The following is an account of one of the possible effects of such errors; how an error becomes entrenched and even exaggerated as later textbooks fail to correct the original error. The example considered here concerns the origins of one of the most basic and important tools of to­ day's medical research, the randomised controlled trial. It is the result of a systematic study of 26 British, French and German history of medicine textbooks since 1996.

RNetCDF – A Package for Reading and Writing NetCDF Datasets

This paper describes the RNetCDF package (version 1.6), an interface for reading and writing files in Unidata NetCDF format, and gives an introduction to the NetCDF file format. NetCDF is a machine independent binary file format which allows storage of different types of array based data, along with short metadata descriptions. The package presented here allows access to the most important functions of the NetCDF C-interface for reading, writing, and modifying NetCDF datasets. In this paper, we present a short overview on the NetCDF file format and show usage examples of the package.