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Manual for Language Test Development and Examining
Manual for Language Test Development and Examining For use with the CEFR Produced by ALTE on behalf of the Language Policy Division, Council of Europe © Council of Europe, April 2011 The opinions expressed in this work are those of the authors and do not necessarily reflect the official policy of the Council of Europe. All correspondence concerning this publication or the reproduction or translation of all or part of the document should be addressed to the Director of Education and Languages of the Council of Europe (Language Policy Division) (F-67075 Strasbourg Cedex or [email protected]). The reproduction of extracts is authorised, except for commercial purposes, on condition that the source is quoted. Manual for Language Test Development and Examining For use with the CEFR Produced by ALTE on behalf of the Language Policy Division, Council of Europe Language Policy Division Council of Europe (Strasbourg) www.coe.int/lang Contents Foreword 5 3.4.2 Piloting, pretesting and trialling 30 Introduction 6 3.4.3 Review of items 31 1 Fundamental considerations 10 3.5 Constructing tests 32 1.1 How to define language proficiency 10 3.6 Key questions 32 1.1.1 Models of language use and competence 10 3.7 Further reading 33 1.1.2 The CEFR model of language use 10 4 Delivering tests 34 1.1.3 Operationalising the model 12 4.1 Aims of delivering tests 34 1.1.4 The Common Reference Levels of the CEFR 12 4.2 The process of delivering tests 34 1.2 Validity 14 4.2.1 Arranging venues 34 1.2.1 What is validity? 14 4.2.2 Registering test takers 35 1.2.2 Validity -
REFERENCE DOCUMENT Containing the Annual Financial Report Fiscal Year 2016 PROFILE
REFERENCE DOCUMENT containing the Annual Financial Report Fiscal Year 2016 PROFILE The Lagardère group is a global leader in content publishing, production, broadcasting and distribution, whose powerful brands leverage its virtual and physical networks to attract and enjoy qualifi ed audiences. The Group’s business model relies on creating a lasting and exclusive relationship between the content it offers and its customers. It is structured around four business divisions: • Books and e-Books: Lagardère Publishing • Travel Essentials, Duty Free & Fashion, and Foodservice: Lagardère Travel Retail • Press, Audiovisual (Radio, Television, Audiovisual Production), Digital and Advertising Sales Brokerage: Lagardère Active • Sponsorship, Content, Consulting, Events, Athletes, Stadiums, Shows, Venues and Artists: Lagardère Sports and Entertainment 1945: at the end of World 1986: Hachette regains 26 March 2003: War II, Marcel Chassagny founds control of Europe 1. Arnaud Lagardère is appointed Matra (Mécanique Aviation Managing Partner of TRAction), a company focused 10 February 1988: Lagardère SCA. on the defence industry. Matra is privatised. 2004: the Group acquires 1963: Jean-Luc Lagardère 30 December 1992: a portion of Vivendi Universal becomes Chief Executive Publishing’s French and following the failure of French Offi cer of Matra, which Spanish assets. television channel La Cinq, has diversifi ed into aerospace Hachette is merged into Matra and automobiles. to form Matra-Hachette, 2007: the Group reorganises and Lagardère Groupe, a French around four major institutional 1974: Sylvain Floirat asks partnership limited by shares, brands: Lagardère Publishing, Jean-Luc Lagardère to head is created as the umbrella Lagardère Services (which the Europe 1 radio network. company for the entire became Lagardère Travel Retail ensemble. -
Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No. -
The 2021 Guide to Manuscript Publishers
Publish Authors Emily Harstone Authors Publish The 2021 Guide to Manuscript Publishers 230 Traditional Publishers No Agent Required Emily Harstone This book is copyright 2021 Authors Publish Magazine. Do not distribute. Corrections, complaints, compliments, criticisms? Contact [email protected] More Books from Emily Harstone The Authors Publish Guide to Manuscript Submission Submit, Publish, Repeat: How to Publish Your Creative Writing in Literary Journals The Authors Publish Guide to Memoir Writing and Publishing The Authors Publish Guide to Children’s and Young Adult Publishing Courses & Workshops from Authors Publish Workshop: Manuscript Publishing for Novelists Workshop: Submit, Publish, Repeat The Novel Writing Workshop With Emily Harstone The Flash Fiction Workshop With Ella Peary Free Lectures from The Writers Workshop at Authors Publish The First Twenty Pages: How to Win Over Agents, Editors, and Readers in 20 Pages Taming the Wild Beast: Making Inspiration Work For You Writing from Dreams: Finding the Flashpoint for Compelling Poems and Stories Table of Contents Table of Contents .......................................................................................................... 5 Introduction ................................................................................................................. 13 Nonfiction Publishers.................................................................................................. 19 Arcade Publishing .................................................................................................. -
TIAGO RODRIGUES Antoine Et Cléopâtre D’Après William Shakespeare
TIAGO RODRIGUES Antoine et Cléopâtre d’après William Shakespeare Théâtre de la Bastille – Du 14 septembre au 8 octobre 2016 Service de presse : Christine Delterme, Guillaume Poupin Assistante : Alice Marrey Tél : 01 53 45 17 13 | Fax : 01 53 45 17 01 [email protected] [email protected] [email protected] Revue de presse Radio/TV TIAGO RODRIGUES Antoine et Cléopâtre d’après William Shakespeare 45e édition – Festival d’Automne à Paris Ecouter : Vendredi 30 septembre 2016 France Culture / La Fabrique de l’Histoire / Emmanuel Laurentin – 9h05 à 10h Emission spéciale sur Antoine et Cléopâtre de Tiago Rodrigues http://www.franceculture.fr/emissions/la-fabrique-de-lhistoire/prix-dhistoire-du-senat-et-table-ronde-fiction PRESSE 25 ARTICLES L’Université Syndicaliste – Vendredi 26 août 2016 Les Echos Week-End – Lundi 29 août 2016 Tout Prévoir – Septembre 2016 Théâtral Magazine – Septembre / Octobre 2016 La Terrasse – Septembre 2016 Inferno Magazine.com – Lundi 3 octobre 2016 Libération – Mardi 6 septembre 2016 Libération – Vendredi 9 septembre 2016 Figaro Scope – Mercredi 14 septembre 2016 Du théâtre par gros temps.com – Jeudi 15 septembre 2016 Io Gazette – Jeudi 15 septembre 2016 (deux articles) Les Echos.fr – Jeudi 15 septembre 2016 Le Journal du Dimanche.fr – Jeudi 15 septembre 2016 Agence France Presse Mondiales – Vendredi 16 septembre 2016 Relaxnews.com – Vendredi 16 septembre 2016 Rue du théâtre.eu – Vendredi 16 septembre 2016 Théâtre Actu.com – Samedi 17 septembre 2016 Un fauteuil pour l’orchestre.com -
Jean-Yves Mollier
French publishing in World War Two: A habitus of submission? Jean-Yves Mollier The present article sets out to explore the situation of French publishing between June 1940 and August 1944. Before addressing the main argument, however, it is important to bear in mind that it is difficult to understand this key sector of French cultural life in the period immediately prior to the Nazi occupation without looking back at its development over the preceding decades and even centuries. Similarly, understanding the deeper meaning underlying the attitude of the leading publishers who occupied the higher echelons of the publishing union means bearing in mind their “centuries-old habitus of submission”1 to authority. Take for example the “voluntary delegation of notables representing Paris's industrial sector” led by the industrialists Emile Menier and Jean- François Cail and the printer Henri Plon to the Elysée Palace on December 19, 1851 to thank Louis- Napoléon Bonaparte for “guaranteeing the defence of order, family, and property” after seizing power in a coup seventeen days earlier.2 Though it is important not to overstate the importance of such an event in the contemporary context, it can be seen as symbolic of a craven attitude to power that remained largely unchanged in the summer of 1940. Napoleon I and his successors set up a system to police the book trade, with inspectors whose task it was to keep a close eye not only on ports and borders, but also printers, bookshops, pedlars, second-hand bookshops, and any other premises or itinerant points of sale where books could be acquired. -
Littérature Étrangère Et Monde Du Livre, À Paris, Au XIX° Siècle. Diana
I Seminário Brasileiro sobre Livro e História Editorial Realização: FCRB · UFF/PPGCOM · UFF/LIHED 8 a 11 de novembro de 2004 · Casa de Rui Barbosa — Rio de Janeiro — Brasil O texto apresentado no Seminário e aqui disponibilizado tem os direitos reservados. Seu uso está regido pela legislação de direitos autorais vigente no Brasil. Não pode ser reproduzido sem prévia autorização do autor. Littérature étrangère et monde du livre, à Paris, au XIX° siècle. Diana Cooper-Richet Centre d’Histoire Culturelle des sociétés contemporaines Université de Versailles Saint-Quentin-en-Yvelines Si Paris a été, pour reprendre l’expression de Walter Benjamin, la Capitale du XIX° siècle1, elle l’a sans doute surtout été de la « République mondiale des lettres »2. N’a-t-il pas été amplement montré que cette ville était dotée d’un prestige littéraire à nul autre pareil? Par ailleurs, au cours de la même période, Paris est devenue une cité cosmopolite vers laquelle affluent de nombreux étrangers. Tout ceci contribuera à faire de celle que l’on nomme la « Ville Lumière », un espace dans lequel les transferts culturels sont à la fois d’une extrême variété et d’une incomparable richesse. Dans ce contexte, la diffusion de la littérature étrangère progresse. Elle emprunte différents types de canaux, tant sur le plan des supports qui portent les textes venus d’ailleurs, que sur celui de la langue dans laquelle ils sont offerts aux lecteurs. La littérature étrangère peut, en effet, emprunter deux voies pour tenter de se faire connaître, celle de la version originale, c’est-à-dire celle de la publication dans la langue dans laquelle le texte a été écrit, celle qui ne s’adresse qu’à un public d’initiés maîtrisant au moins un vocable autre que le sien. -
FALL 2008 Columbia University in the City of New York Co
FALL 2008 Columbia University in the City of New York CO 435 West 116th Street, Box A-2 L UM New York, NY 10027 BI A L RETURN SERVICE REQUESTED A W S C HO O L M ag azine www.law.columbia.edu/alumni fall 2008 BREAKING THE CODE NEW FACULTY MEMBER MICHAEL GRAETZ HAS AN INNOVATIVE PLAN FOR REVAMPING AMERICA’s TAX CODE TALKINGTALKING TETELECLECOM: TIM WU CHATS WITH JEFFREY TOOBIN SCOTUS ANALYSIS FROM BLASI, BRIFFAULT, GREENAWALT, HAMBURGER, AND PERSILY Opportunity The Future of Diversity and Opportunity in Higher dean Columbia Law School Magazine David M. Schizer is published three times annually for alumni and friends of associate dean Education: A National Columbia Law School by the for development and Office of Development and alumni relations Alumni Relations. Forum on Innovation and Bruno M. Santonocito Opinions expressed in Columbia Law Collaboration executive director School Magazine do not necessarily of communications reflect the views of Columbia Law and public affairs School or Columbia University. Elizabeth Schmalz This magazine is printed December 3-5, 2008 guest editor on FSC certified paper. Matthew J.X. Malady editorial director James Vescovi assistant editor Mary Johnson Change of address information should be sent to: copy editors Lauren Pavlakovich, Columbia Law School Joy Y. Wang 435 West 116 Street, Box A-2 New York, NY 10027 During the first week in December, design and art direction Attn: Office of Alumni Relations Empire Design Studio Alumni Office university presidents, provosts, and photography 212-854-2680 Peter Freed, Robyn Twomey, Magazine Notices Eric van den Brulle, Jon Roemer 212-854-2650 academic innovators will gather for David Yellen [email protected] an historic conference focused on new printing Copyright 2008, Columbia Maar Printing Service, Inc. -
Course Catalogue 2016 /2017
Course Catalogue 2016 /2017 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 19 Business & Economics 19 Chinese 32 Communication, Culture, Media Studies 33 (including Journalism) Computer Science 53 Education 56 English 57 French 71 Geography 79 German 85 History 89 Italian 101 Latin 102 Law 103 Mathematics & Finance 104 Political Science 107 Psychology 120 Russian 126 Sociology & Anthropology 126 Spanish 128 Tourism 138 2 the diversity of its main players. It will thus establish Art, Architecture, the historical context of this production and to identify the protagonists, before defining the movements that Music & Cinema appear in their pulse. If the development of the course is structured around a chronological continuity, their links and how these trends overlap in reality into each IMPORTANT: ALL OUR ART COURSES ARE other will be raised and studied. TAUGHT IN FRENCH UNLESS OTHERWISE INDICATED COURSE CONTENT : Course Outline: AS1/1b : HISTORY OF CLASSIC CINEMA introduction Fall Semester • Impressionism • Project Genesis Lectures: 2 hours ECTS credits: 3 • "Impressionist" • The Post-Impressionism OBJECTIVE: • The néoimpressionnism To discover the great movements in the history of • The synthetism American and European cinema from 1895 to 1942. • The symbolism • Gauguin and the Nabis PontAven COURSE PROGRAM: • Modern and avantgarde The three cinematic eras: • Fauvism and Expressionism Original: • Cubism - The Lumière brothers : realistic art • Futurism - Mélies : the beginnings of illusion • Abstraction Avant-garde : - Expressionism -
3268 LAG Doc De Ref 2017 LIVRE GB.Indb
REFERENCE DOCUMENT containing the Annual Financial Report FISCAL YEAR 2017 PROFILE The Lagardère group is a global leader in content publishing, production, broadcasting and distribution, whose powerful brands leverage its virtual and physical networks to attract and enjoy quali= ed audiences. The Group’s business model relies on creating a lasting and exclusive relationship between the content it offers and its customers. It is structured around four business divisions: • Books and e-Books: Lagardère Publishing • Travel Essentials, Duty Free & Fashion, and Foodservice: Lagardère Travel Retail • Press, Audiovisual (Radio, Television, Audiovisual Production), Digital and Advertising Sales Brokerage: Lagardère Active • Sponsorship, Content, Consulting, Events, Athletes, Stadiums, Shows, Venues and Artists: Lagardère Sports and Entertainment 1945: at the end of World 1986: Hachette regains 26 March 2003: War II, Marcel Chassagny founds control of Europe 1. Arnaud Lagardère is Matra (Mécanique Aviation appointed Managing Partner TRAction), a company focused 10 February 1988: of Lagardère SCA. on the defence industry. Matra is privatised. 2004: the Group acquires 1963: Jean-Luc Lagardère 30 December 1992: a portion of Vivendi Universal becomes Chief Executive Publishing’s French and following the failure of French Of= cer of Matra, which Spanish assets. television channel La Cinq, has diversi ed into aerospace Hachette is merged into Matra and automobiles. to form Matra-Hachette, and 2007: the Group reorganises Lagardère Groupe, a French around four major institutional 1974: Sylvain Floirat asks partnership limited by shares, brands: Lagardère Publishing, Jean-Luc Lagardère to head is created as the umbrella Lagardère Services (which the Europe 1 radio network. company for the entire became Lagardère Travel Retail ensemble. -
Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER
Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER ____________________________________________________________________________________________________ AWARDS/NOMINATIONS MTV Hip Hop Video - Black Eyed Peas “My Humps” MTV Best New Artist in a Vide - Sean Paul “Get Busy” (Nominee) TELEVISION/FILM King Of The Dancehall (Creative Director) Dir. Nick Cannon American Girl: Saige Paints The Sky Dir. Vince Marcello/Martin Chase Prod. American Girl: Alberta Dir. Vince Marcello Sparkle (Co-Chor.) Dir. Salim Akil En Vogue: An En Vogue Christmas Dir. Brian K. Roberts/Lifetime Tonight SHow w Gwen Stefani (Co-Chor.) NBC The X Factor (Associate Chor.) FOX Cheetah Girls 3: One World (Co-Chor.) Dir. Paul Hoen/Disney Channel Make It Happen (Co-Chor.) Dir. Darren Grant New York Minute Dir. D. Gorgon American Music Awards w/ Fergie (Artistic Director) ABC/Dick Clark Productions Divas Celebrate Soul (Co-Chor.) VH1 So You Think You Can Dance Canada Season 1-4 CTV Teen Choice Awards w/ Will.I.Am FOX American Idol w/ Jordin Sparks FOX American Idol w/ Will.I.Am FOX Superbowl XLV Halftime Show w/ Black Eyed Peas (Co-Chor.) FOX/NFL Soul Train Awards BET Idol Gives Back w/ Black Eyed Peas (Co-Chor.) FOX Grammy Awards w/ Black Eyed Peas (Co-Chor.) CBS / AEG Ehrlich Ventures NFL Thanksgiving Motown Tribute (Co-Chor.) CBS/NFL American Music Awards w/ Black Eyed Peas (Co-Chor.) ABC/Dick Clark Productions BET Hip Hop Awards (Co-Chor.) BET NFL Kickoff Concert w/ Black Eyed Peas (Co-Chor.) NFL Oprah w/ Black Eyed Peas (Co-Chor.) ABC/Harpo Teen Choice Awards w/ Black Eyed Peas -
Publishing in the Nineteenth Century
1 Publishing in the Nineteenth Century Originally published as “Editer au XIXe siècle”, Revue d’histoire littéraire de la France, vol. 107, no. 4, 2007, pp. 771–90. Introduction When Roger Chartier and Henri-Jean Martin were preparing the introduction to the first volume of their monumental Histoire de l’Édition francaise (History of French publishing), which they entitled Le livre conquérant. Du Moyen Age au milieu du XVIIe siècle (The Conquering Book. From the Middle Ages to the mid-seventeenth century), they encountered a problem – one might even call it an aporia. They explained their twin debt both to Lucien Febvre, the initiator of research into the history of the book,1 and to Jean-Pierre Vivet, a journalist turned director of Promodis Publishing, who had expressed his desire to “see [the publisher] placed at the center of these four volumes,” which he had entrusted to them.2 This outspoken directive implied that the figure of the publisher long predated the invention of printing, and that he had been performing the role of broker or mediator without interruption from the thirteenth up to the twentieth century, as is the case today. The two editors were very well aware that sustaining such a notion could prove risky, and so they added this further comment, which partly contradicted what had gone before: The story we would like to tell is one in which the role of the publisher was gradually asserted and became more clearly defined; he was bold in the age of the conquering 1 Lucien Febvre and Henri-Jean Martin, L’apparition du livre (Paris: Albin Michel, 1958), translated into English as The Coming of the Book: The Impact of Printing, 1450-1800 (London: Verso, 1976).