901 resultados para Other English Language and Literature
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Current workplace demands newer forms of literacies that go beyond the ability to decode print. These involve not only competence to operate digital tools, but also the ability to create, represent, and share meaning in different modes and formats; ability to interact, collaborate and communicate effectively using digital tools, and engage critically with technology for developing one’s knowledge, skills, and full participation in civic, economic, and personal matters. This essay examines the application of the ecology of resources (EoR) model for delivering language learning outcomes (in this case, English) through blended classroom environments that use contextually available resources. The author proposes the implementation of the EoR model in blended learning environments to create authentic and sustainable learning environments for skilling courses. Applying the EoR model to Indian skilling instruction contexts, the article discusses how English language and technology literacy can be delivered using contextually available resources through a blended classroom environment. This would facilitate not only acquisition of language and digital literacy outcomes, but also consequent content literacy gain to a certain extent. This would ensure satisfactory achievement of not only communication/language literacy and technological literacy, but also active social participation, lifelong learning, and learner autonomy.
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L'objectiu d¿aquest article és mostrar com, malgrat la idealització evident de Grècia i l'amor platònic en diferents autors de l'Anglaterra Victoriano-Eduardina, ambdós tenen els seus límits. Per explicar-ho, doncs, l'autor presenta una anàlisi minuciosa del text anglès i, alhora, fa constants referències al textos grecs implícits, com ara el Simposi i el Fedre de Plató i tal vegada fins i tot l'Eròtic de Plutarc en cerca d'una tradició clàssica que és cabdal per entendre l'Anglaterra de principis del segle XX.
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According to Literature and Film studies and from the point of view of the influence of Classical Tradition on Western Culture -Classical Greek Tradition, in this case-, this article is an accurate analysis of the inevitable -to a certain degree- screenwriters betrayals regarding the literary texts that they adapt. However, in spite of being practically inevitable, Dr. Pau Gilabert Barberà indicates which are in his opinion the limits beyond which Ivory/Hesketh-Harvey should have not gone in order not to dilute the Hellenic temper of E. M. Forster's Maurice.
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Professor of English Language and Literature.
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At the airport, across from the magazines at Wal-Mart, and probably somewhere near the front of local bookstores — chick lit is everywhere. One would probably recognize it from a distance as a sea of shiny pink1, the small glossy paperbacks cheerfully beckoning from their carefully constructed display. Chick lit has exploded into the western2 market over the last decade, captivating millions of readers with their tales of young, urban professional women navigating the worlds of careers, relationships, and of course, shopping. By the end of the novel, each of these components is generally resolved in somewhat formulaic fashion
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In light of these continuing debates concerning immigration, national identity and belonging, re-examinations of immigrant and ethnic communities, often referred to as ‘diaspora,’ have become increasingly popular and prudent. Khachig Tololian, editor of Diaspora magazine, calls diaspora “exemplary communities of the transnational moment.”5 In an increasingly globalized world, where labor, capital, and resources are passed fluidly from continent to continent, diaspora are created by relocation or displacement of immigrant workers and their descendents.6 For these unskilled, immigrant laborers, middle class immigrants, and the children of both groups, adaptation to the culture, society, and life in a new ‘host’ country can be difficult, to say the least. So, in response to a new cultural landscape and a tenuous sense belonging, as well as to maintain a connection with a shared past, citizens of the world’s numerous diaspora replicate linguistic, cultural, and social norms, creating their own “cultural space[s]” that mirror and often replace a past relationship to their land of origin, or ‘home’.
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Writing this collection of journalistic nonfiction has come at an appropriate time for me as I head out into the world on my own. I still don’t know if or where I’ll be working. I don’t know if I’ll be an intern or employee or if I want to go to graduate school in the future. The world is wide open before me, and that is a scary thing. However, these women have been assuring and guiding me. Meeting and interviewing them has taught me that life is subjective. They have shown me that everything we own can be lost in an instant, that life—family, freedom, happiness—is more precious and more fragile than we may think. These women are not superficial; they are sincere and wise. I would consider myself blessed to have a fraction of their strength, and, indeed, it is their characters to which I aspire. Each woman has suffered loss, but each woman has also gained a new, deeper perspective on life. They are the ones who, from my point of view, are flying high and clinging tight—with views from the crown of the forest.
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In this study I suggest that there are three distinct time periods mark new developments in society’s understanding of menopause, Victorian America in the mid and late nineteenth century, mid-twentieth century America, and contemporary America. This is the case not only in terms of advances in biological science, but also the ways in which the medical establishment has viewed menopause has also changed, and in terms of changes in prevalent gender assumptions. In this paper I hope to expose the ways science, history, and society has medicalized menopause, and the ways in which menopause has been viewed by individual women, their health care providers, and society as a whole more generally. I also wish to expose the fact that how we have come to think about menopause is by no means simply the result of value-free, objective science and medicine.
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Dickens's use of the grotesque in his novels undergoes a variety of changes. For convenience sake, and to better illustrate the developments of the grotesque, I divide the novels into three separate groups. The first group, the period of experiment, included the novels from Pickwick Papers through Barnaby Rudge; the second group, the period of transition, includes the novels from Martin Chuzzlewit through David Copperfield; and the third, the period of a new vision. included the novels from Bleak House through Edwin Drood. Basically, I see the development of the grotesque involving a change in Dickens's conceptions of society, as well as responding to complex changes in society itself; Dickens's vision loses much of its humor in the end, yet it also reflects a definite maturity.
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Poems
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TABLE OF CONTENTS I. UNDER THE CARPET Running Away Call Me Sinner Behind the Wheel How It Is Graffiti The Father On My Street II. WINDSTORM The Match The Thunderstorm Cedaredge Locker Plant It's All Life Something In Beige A Wish Peeling Praying
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Poems