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This monograph contributes to research in content and language integrated learning (CLIL). Amidst the absence of any educational standards as well as other research deficits, Chapter II sketches a conceptual framework with a competence model for multilingual CLIL classes in the social sciences. It develops a line of argument for the promotion of global discourse competence for democratic participation within a transnational civil society. The subsequent four chapters, comprising one conceptual, one methodological and two empirical contributions, look at different aspects of the conceptual framework. Chapter III defends the developed competence model and further specifies its idea of thought in proposing the construction of multilingual 'cosmopolitan classroom glocalities' for the genesis of 21st century skills. The example of #climonomics, a multilingual EU parliamentary debate about climate change, illustrates its practical realization within school education and exemplifies the contribution to education for sustainable development (ESD) and the value of democratic and participatory learning arrangements. Chapter IV introduces design-based action research (DBAR), the method used in Chapters V & VI. DBAR is a hybrid of action and design-based research and is thereby ideally suited for bridging the gap of theory and practice in educational research. Chapter IV argues for closer cooperation between academics and practitioners, along with pragmatic stakeholder participation by involving students and teachers into research, in a quest for inductively making practical knowledge scientific. Chapter V, more language-biased, draws on the notion of translanguaging and presents the concept of 'trans-foreign-languaging' as a multilingual approach to CLIL with first language (L1) use. During six weeks DBAR, a comprehensive CLIL teaching model with judicious and principled L1 use was designed together with the study group. The model offers affordance-based and differentiated methods for different learner types. Its genesis is reconstructed by a thick description of the natural classroom dynamics. Chapter VI, rather subjectbased, asks about the influence of such bilingual language use on emotions, in particular on the formation of political judgments. It suggests different ways to measure emotions during various natural classroom settings. The chapter concludes that CLIL with L1 use has the potential to engender a perfect equilibrium of emotional and rational learning, integrating emotions into learning and valuing its positive contribution towards appropriate and multilayered political judgments. The concluding Chapter VII binds the previous chapters together and discusses the results. Criteria for the generalization of the results are assessed, and limits demarcated. It highlights the contribution to CLIL research and looks into the future, suggesting further direct classroom interventions, also with the goal to prepare the research field for larger undertakings.
This article outlines a production-oriented imagology and equips the imagological toolkit with concepts and terminology from cultural memory studies, reception aesthetics, narratology, rhetoric, and text linguistics. It thereby presents the theoretical framework which makes it possible to analyse generic elements without a national connotation with regard to their function in generating a national image. Using as examples genres from English Romanticism and how they evoke Englishness, the article highlights the aesthetic complexity of national images and their range of variation. Simultaneously it paves the way for a more nuanced deconstruction of these images.
Vestiges
(2013)
The poems in this collection are adequate, with great lines. The rhythm is stimulating to all the five senses thanks to the use of multiple images. A lot of imagery in Vestiges gives a picture of a war front after a ferocious battle. The objects, animals, and images in the poems disorient and lead the reader to focusing on putting flesh to the bones than just getting the juice of the poems... The rhythm more than anything else carries the reader through this chaotic tableau painted in Vestiges. In a way, this comes across as a substantiation of the poet's vision of our world and an explanation as to why he considers this collection as a skeleton; and precisely skeletons left by the ravages of war. Is the poet's world and ours a field of ruins and topsy-turvydom to which we are all blind? The answer is yours.
The aim of this paper is to give a unified account of the way that German demonstrative pronouns (henceforth: D-pronouns) like der, die and das behave (a) in sentences where they receive a coreferential interpretation, and (b) in sentences where they receive a covarying interpretation because they are in some way dependent on a quantificational expression – either via direct binding or indirectly, because the value they receive varies with the value that is assigned to the variable bound by an indefinite determiner.
For reasons of space, we only discussed one text in which the metaphors used seem to take their root in the context in which it has been written. One text is definitely not enough to make any definite claims on how widespread this phenomenon is. Given what we know about the two domains - Food and taste - one has reasons to believe that when speakers/conceptualisers (e.g. journalists) describe something which stands in some relation to both, they may intuitively be reaching for taste metaphors of the kind described above on the premise that this kind of ‘ornamentation’ will add some spice to what the addressee might otherwise consider a trivial (and boring) topic. At the same time, taste is only one among many properties a particular item of food or a substance (e.g. sugar) has. In consequence, one may well imagine contexts in which it is not its taste, but other properties (e.g. what Harbottle [1997:183] refers to as its 'pure white and deadly’ image) that will make the conceptualiser reach for a particular linguistic or conceptual metaphor.
In this paper I tried to demonstrate that the British films depicting football hooliganism could be viewed as glorifying violence. A considerably great number of scenes and a great amount of time devoted to the presentation of violence, together with the unpunished, painless and heroic aspects of such presentations are just one side of the glorifying coin. The other side is occupied with the deeper meaning of particular scenes or the general overtones of the films which seem to develop a tendency to present a hooligan firm as a family-like community that offers happiness and produces a strong feeling of belonging and solidarity that adds spice to the boring working or middle class life. Violent confrontations are depicted as a source of pleasurable emotional arousal that surpass other forms of enjoyment. Moreover, confronting other hooligans helps hooligans to construct hard masculine identity based on physical prowess. Finally, being a good fighter is a fast track to earning a reputation that provides hooligans with a sense of power and importance. Real hooligans starring in the films, thus potentially encouraging viewers to become “wannabe warriors”, is also of great importance. However, the way the audiences react to the on-screen presentation of violence with all its aspects is a topic for much broader research.
This article will attempt to suggest translation procedures necessary to translate culturally bound items in the referential level of a literary work illustrated with examples from two novels: “The Bluest Eye” by Toni Morrison and “Vineland” by Thomas Pynchon. First, the article will include a general description of the referential level in literary works offering possible avenues of 285 its rendition, then and finally suggest a translation methodology and techniques together with practical examples of the theory at work.
Several phenomena associated with the differences in the performance of novice interpreters and semi-professionals have been discussed in the paper. Particular emphasis was placed on the occurrence of imported cognitive load which strongly influenced the performance of the subjects also in places where no intrinsic difficulty had been detected. Nevertheless, too little evidence was provided to establish a more detailed pattern of imported cognitive load, which was due to the limited number of participants in the study. It would be possible to obtain more detailed data and comments from the participants by means of interviews conducted individually with the participants. It would allow asking detailed questions to the participants, which might be a more reliable method than the immediate retrospective accounts. Moreover, in the present study such variables as gender differences, age differences and the possible influence of other foreign languages were not taken into account. Perhaps these variables might shed some light on the issue of the management of cognitive resources. Also, the corpus gathered for the present study may be used for the investigation of other aspects of the SI performance.
The cognitive framework seems to comply with the need of interdisciplinary outlook on the issue of emotions, as it itself draws upon findings of psychological, anthropological and philosophical research. Along with undertaking further studies on the conceptualization of emotions in different languages, from the detailed analysis of the repertoire of linguistic means used for talking about emotions to investigation into tendencies to use metaphors or metonymies to talk about emotions, some broader conclusions could be drawn. The greatest challenge seems to be establishing whether there are any cultural (social, economical, conventional, political, religious) conditions that may influence the relevant changes in conceptualizing emotions in different languages and whether it is possible to point to any laws or regularities that would govern these changes.
The aim of this article is to follow the changes that took place in the history of easy-to-please constructions. To fully apprehend that, we will begin by looking at Middle English infinitives and the change which affected them. Our attempt here is to prove that Early Middle English to was at its intermediate stage of development, i.e. it was neither a preposition nor inflection. In Late Middle English, to reached its final stage of a gradual evolution heading TR On account of the analysis of to and infinitives in Middle English, new constructions in which easv-to-please appear will be explained.
'Dante and Ireland', or 'Dante and Irish Writers', is an extremely vast topic, and to cover it a book rather than an essay would be necessary. If the relationship between the poet and Ireland did not begin in the fourteenth century - when Dante himself may have had some knowledge of, and been inspired by, the "Vision of Adamnán", the "Vision of Tungdal", and the "Tractatus de purgatorio Sancti Patricii" - the story certainly had started by the eighteenth, when the Irish man of letters Henry Boyd was the first to produce a complete English translation of the "Comedy", published in 1802. Even if one restricts the field to twentieth-century literature alone, which is the aim in the present piece, the list of authors who are influenced by Dante includes Yeats, Joyce, Beckett, and Heaney - that is to say, four of the major writers not only of Ireland, but of Europe and the entire West. To these should then be added other Irish poets of the first magnitude, such as Louis MacNeice, Ciaran Carson, Eiléan Ní Cuilleanáin, and Thomas Kinsella. Therefore Piero Boitani treats this theme in a somewhat cursory manner, privileging the episodes he considers most relevant and the themes which he thinks form a coherent and intricate pattern of literary history, where every author is not only metamorphosing Dante but also rewriting his predecessor, or predecessors, who had rewritten Dante. Distinct from the English and American Dante of Pound and Eliot, an 'Irish Dante', whom Joyce was to call 'ersed irredent', slowly grows out of this pattern.
This study examines intraoral pressure for English and German stops in bilabial and alveolar place of articulation. Our subjects are two speakers of American English and three speakers of German. VOICING is the main phonological contrast under evaluation in both word initial and word final position. For initial stops, a few of the pressure characteristics showed differences between English and German, but on the whole the results point to similar production strategies at both places of articulation in the two different languages. Analysis of the pressure trajectory differences between VOICING categories in initial position raises questions about articulatory differences. In the initial closing gesture, time from start of gesture to closure is roughly equivalent for both categories, but the pressure change is significantly smaller on average for VOICED stops. Final stops, however, present a more complicated picture. German final stops are neutralized to a presumed VOICELESS phonological state. English final /p/ is broadly similar to German /p/, but English /t/ often shows no pressure increase at all which is at odds with the conventional account of phonation termination via pressure increase and loss of pressure differential. The results raise the question of whether the German final stops should be considered VOICELESS or some intermediate form, at least as compared to English final stops.
Rezension zu Rainer Maria Rilke's The Book of Hours. A New Translation with Commentary. Translated by Susan Ranson. Edited with and Introduction and Notes by Ben Hutchinson. Camden House. Rochester New York. 2009. XLIV + 240 S.
The reason is not small
(2010)
"Don’t forget the sugar!" my husband called after our son who was already running down the road, hopping across puddles and skirting garbage mounds. He leaned back in his chair and sighed. The plastic covered wires were stretching to the point that they would break soon. We would get it restrung again. (...)
The flâneur has been depicted in several different ways in 19th as well as 20th and 21st century literature and criticism. The focus of this brief paper will be on the roles given him in English writings from or around the time of the 1848 revolutions in France and Germany, in which the flâneur comes to represent not only a street idler, but also a critical traveller to, and observer of, the continental city and its revolutionary activities.