Stance and Voice in Written Academic Genres Also by Ken Hyland ACADEMIC DISCOURSE
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Salem State University From the SelectedWorks of Sovicheth Boun March 24, 2014 A Critical Examination Of Language Ideologies And Identities Of Cambodian Foreign-Trained University Lecturers Of English Sovicheth Boun Available at: https://works.bepress.com/sovicheth-boun/2/ Table of Contents General Conference Information ....................................................................................................................................................................... 3-‐13 Welcome Messages from the President and the Conference Chair ........................................................................................................................ 3 Conference Program Committee .......................................................................................................................................................................................... 4 Registration Information, Exhibit Hall Coffee Hours, Breaks, Internet Access, Conference Evaluation ................................................ 4 Strand Coordinators and Abstract Readers .................................................................................................................................................................. 5-‐6 Student Volunteers, Individual Sessions and Roundtable Sessions Instructions ............................................................................................ 7 Conference Sponsors ............................................................................................................................................................................................................. -
Oxford Scholarship Online
White Womanhood and Early Campaigns for Choreographic Copyright University Press Scholarship Online Oxford Scholarship Online Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance Anthea Kraut Print publication date: 2015 Print ISBN-13: 9780199360369 Published to Oxford Scholarship Online: November 2015 DOI: 10.1093/acprof:oso/9780199360369.001.0001 White Womanhood and Early Campaigns for Choreographic Copyright Anthea Kraut DOI:10.1093/acprof:oso/9780199360369.003.0002 Abstract and Keywords This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered struggle to attain proprietary rights in whiteness. First situating Fuller’s practice in the context of the patriarchal economy that governed the late nineteenth-century theater, the chapter then examines the lineage of her Serpentine Dance, including the Asian Indian dance sources to which it was indebted. It also shows how the “theft” of her Serpentine Dance occasioned a crisis of subjecthood for Fuller, and how her assertion of copyright was an attempt to (re)establish herself as a property-holding subject. The chapter ends by considering the copyright bids of two dancers Page 1 of 65 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2015. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: New York University; date: 26 July 2016 White Womanhood and Early Campaigns for Choreographic Copyright who followed in Fuller’s wake, Ida Fuller and Ruth St. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two. -
Marketing Fragment 6 X 10.T65
Cambridge University Press 978-0-521-53430-7 - Second Language Writing Ken Hyland Frontmatter More information Second Language Writing © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-53430-7 - Second Language Writing Ken Hyland Frontmatter More information CAMBRIDGE LANGUAGE EDUCATION Series Editor: Jack C. Richards This series draws on the best available research, theory, and educational practice to help clarify issues and resolve problems in language teaching, language teacher education, and related areas. Books in the series focus on a wide range of issues and are written in a style that is accessible to classroom teachers, teachers-in-training, and teacher educators. In this series: Agendas for Second Language Literacy by Sandra Lee McKay Reflective Teaching in Second Language Classrooms by Jack C. Richards and Charles Lockhart Educating Second Language Children: The Whole Child, the Whole Curriculum, the Whole Community edited by Fred Genesee Understanding Communication in Second Language Classrooms by Karen E. Johnson The Self-Directed Teacher: Managing the Learning Process by David Nunan and Clarice Lamb Functional English Grammar: An Introduction for Second Language Teachers by Graham Lock Teachers as Course Developers edited by Kathleen Graves Classroom-Based Evaluation in Second Language Education by Fred Genesee and John A. Upshur From Reader to Reading Teacher: Issues and Strategies for Second Language Classrooms by Jo Ann Aebersold and Mary Lee Field Extensive Reading in the Second Language Classroom by Richard R. Day and Julian Bamford Language Teaching Awareness: A Guide to Exploring Beliefs and Practices by Jerry G. Gebhard and Robert Oprandy Vocabulary in Second Language Teaching by Norbert Schmitt Curriculum Development in Language Teaching by Jack C. -
Thomas Hardy, the Life and Work of Thomas Hardy, (Ed.) Michael Drama and the Theatre: the Dynasts' and 'The Famous Tragedy of Th
Notes Notes to the Introduction 1. Thomas Hardy, The Life and Work of Thomas Hardy, (ed.) Michael Millgate (London, Macmillan, 1984; Athens: University of Georgia Press, 1985) p. 56. Hereafter cited as Life and Work. 2. While this is the first full-length study of Hardy's interest and involvement in the theatre, it takes its place within the small but solid body of scholarship that has appeared since Marguerite Roberts first addressed two specific aspects of the subject in her books Tess in the Theatre (University of Toronto Press, 1950) and Hardy's Poetic Drama and the Theatre: The Dynasts' and 'The Famous Tragedy of the Queen of Cornwall' (New York: Pageant Press, 1965). Other significant contributions are David N. Baron, 'Harry Pouncy and the Hardy Players', Notes and Queries for Somerset and Dorset, 31 (September 1980) pp. 45-50 and his 'Hardy and the Dorchester Pouncys- Part Two', Notes and Queries for Somerset and Dorset, 31 (September 1981) pp. 129-35; Harold Orel, 'Hardy and the Theatre', in Margaret Drabble (ed.), The Genius of Thomas Hardy (London: Weidenfeld & Nicolson, 1976) pp. 94-108, and 'Hardy's Interest in the Theatre' in Harold Ore!, The Unknown Thomas Hardy (Brighton: Harvester, 1987) pp. 37--{;6; Desmond Hawkins's very helpful checklist of dramatiza tions, which forms an appendix (pp. 225-36) to his Hardy, Novelist and Poet (Newton Abbot: David & Charles, 1976); and Joan Grundy's 'Theatrical Arts', in her Hardy and the Sister Arts (London: Macmillan, 1979) pp. 70-105. Mention should also be made of Vincent Tollers's useful unpublished doctoral dissertation, 'Thomas Hardy and the Professional Theatre, with Emphasis on The Dynasts' (University of Colorado, 1968) and James Stottlar's 'Hardy vs. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
The Boys' School Festival on Wednesday Next. the West Lancashire Alpass Benevolent Institution. Gothic Architecture—Let It Be
short of THE BOYS' SCHOOL FESTIVAL ON -£872. The number of widoAvs on the Fund is nine, and the total distributed amongst them in annuities £192. The WEDNESDAY NEXT. expenses are only a little in excess of £14, so that the balance to be carried fonvard to the current account Avas -£665. The in- The 93rd Anniversary Festival of the Royal Masonic Insti- vestments reach £3330/ so that even if further candidates for the tution for Boys will be held at the Royal Pavilion , Brighton , on benefits of the Charity should come forward and be elected, there is Wednesday next, the 24th instant, under the presidency of Bro. no present likelihood of the cap ital being trenched upon. Such a the Earl of LATHOM, Pro Grand Master of England and Prov. Report as this must be very gratif ying to Bro. the Earl of Grand Master of West. Lancashire. We have alreadv enu- LATHOM and our West Lancashire brethren , ancl makes it clear merated the special circumstances under which the celebration that the true purpose—Avhat many have described as the one will take place. We have pointed out on several occasions and only secret—of our Craft is thoroug hly understood and that the fortunes of the Institution are in a somewhat di- appreciated by them. It is, indeed, an honour of Avhich they lapidated state, and that though its responsibilities have may justly be proud , that, in order to promote the well-being of been as great as ever, the means by Avhich it is their poorer brethren and the AvidoAVS and children of those enabled to fulfil those responsibilities have during the last AVIIO have died in poor circumstances, the Masons of West Lan- two or three years been very seriously curtailed. -
U-Carmen Ekhayelitsha
The articulation of context and identity in U-Carmen eKhayelitsha Susanna Isobella Viljoen Thesis submitted for the degree Doctor of Philosophy in Music at the Potchefstroom Campus of the North-West University Supervisor: Prof. J. Kruger Co-supervisor: Prof. M. Wenzel November 2012 ® Innovation through diversity ® POTCHEFSTROOMKAMPUS TABLE OF CONTENTS TABLE OF CONTENTS i DEDICATION iv ACKNOWLEDGEMENTS v SUMMARY vi OPSOMMING vii FIGURES ix MUSIC EXAMPLES ix PLATES x FILM STILLS xi CHAPTER 1: INTRODUCTION 1 1.1 Contextualization of the research project 1 1.2 Scope of the research project 5 1.3 Research design 7 1.4 Thesis design 9 CHAPTER 2: TEXT, CONTEXT AND IDENTITY 14 2.1 Text 16 2.1.1 Encoding: signs, symbols and icons 17 2.1.2 Decoding: Addresser, work, addressee and text 19 2.1.3 Narrative text 22 2.1.4 Intertextuality 23 2.1.4.1 Text and intertextuality 24 i) Origins 25 ii) Presuppositions 25 2.1.4.2 Context and intertextuality 26 2.1.4.3 Meaning and interpretation 27 2.1.4.4 Types of intertextuality 28 2.2 Adaptations of texts 31 2.3 Context 39 2.3.1 Creating contexts 40 2.3.1.1 Focalization 40 2.3.1.2 Time 41 2.3.1.3 Space 44 2.4 Identity 46 2.4.1 Context and identity 47 2.4.2 Western Self versus non-Western Other 49 2.4.2.1 Documentation of the Other’s context and identities 50 2.4.2.2 Western superior versus non-Western subaltern 53 2.4.2.3 Womanhood and sexuality 55 2.5 Conclusion 60 i CHAPTER 3: EXOTICISM 62 3.1 Exoticism conceptualized 62 3.2 Spain and Gypsies as the exotic Other 67 3.2.1 Spain as exotic space 67 3.2.2 The -
Ken Hyland Frontmatter More Information
Cambridge University Press 978-0-521-82705-8 - Second Language Writing Ken Hyland Frontmatter More information Second Language Writing © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82705-8 - Second Language Writing Ken Hyland Frontmatter More information CAMBRIDGE LANGUAGE EDUCATION Series Editor: Jack C. Richards This series draws on the best available research, theory, and educational practice to help clarify issues and resolve problems in language teaching, language teacher education, and related areas. Books in the series focus on a wide range of issues and are written in a style that is accessible to classroom teachers, teachers-in-training, and teacher educators. In this series: Agendas for Second Language Literacy by Sandra Lee McKay Reflective Teaching in Second Language Classrooms by Jack C. Richards and Charles Lockhart Educating Second Language Children: The Whole Child, the Whole Curriculum, the Whole Community edited by Fred Genesee Understanding Communication in Second Language Classrooms by Karen E. Johnson The Self-Directed Teacher: Managing the Learning Process by David Nunan and Clarice Lamb Functional English Grammar: An Introduction for Second Language Teachers by Graham Lock Teachers as Course Developers edited by Kathleen Graves Classroom-Based Evaluation in Second Language Education by Fred Genesee and John A. Upshur From Reader to Reading Teacher: Issues and Strategies for Second Language Classrooms by Jo Ann Aebersold and Mary Lee Field Extensive Reading in the Second Language Classroom by Richard R. Day and Julian Bamford Language Teaching Awareness: A Guide to Exploring Beliefs and Practices by Jerry G. Gebhard and Robert Oprandy Vocabulary in Second Language Teaching by Norbert Schmitt Curriculum Development in Language Teaching by Jack C. -
The Origins of Loie Fuller's Serpentine Dance Written by Jody Sperling Su
Copyright by Jody Sperling, 2001 Skirting the Image: The Origins of Loie Fuller's Serpentine Dance written by Jody Sperling (Note: This is a slightly-edited version of a paper delivered at the Twenty-Second Annual Conference of the Society of Dance History Scholars, University of New Mexico, Albuquerque, June 2006, and published in conference proceedings. This text was delivered at a roundtable on Loie Fuller at the Festival Oriente Occidente in Rovereto in August 2001. It translated into Italian and appears in Danza di luce, a collection of essays about Loie Fuller published by Skira in conjuction with the Museo di Arte Moderna e Contemporanea di Trento e Rovereto.) Suddenly the stage is darkened and Loie Fuller appears in a white light which makes her radiant and a white robe that surrounds her like a cloud. She floats around the stage, now revealed, now concealed by the exquisite drapery which takes forms of its own . .. She is Diana dancing in the moonlight with a cloud to veil her from Acteon. She is a fairy flitting about with a cloak of thistledown. The surprised and delighted spectators do not know what to call her performance. It is not a skirt dance, although she dances and waves a skirt. It is unique, ethereal, delicious. As she vanishes, leaving only a flutter of her white robe on the stage, the theatre resounds with thunders of applause. Again she emerges from the darkness, her airy evolutions now tinted blue and purple and crimson and again the audience rise at her and insist upon seeing her pretty, piquant face before they can believe that the lovely apparition is really a woman.1 The Serpentine Dance, just described above by a reviewer from the New York Spirit of the Times in January of 1892, is America's first modern dance. -
Discourse Studies
Discourse Studies http://dis.sagepub.com Stance and engagement: a model of interaction in academic discourse Ken Hyland Discourse Studies 2005; 7; 173 DOI: 10.1177/1461445605050365 The online version of this article can be found at: http://dis.sagepub.com/cgi/content/abstract/7/2/173 Published by: http://www.sagepublications.com Additional services and information for Discourse Studies can be found at: Email Alerts: http://dis.sagepub.com/cgi/alerts Subscriptions: http://dis.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations (this article cites 10 articles hosted on the SAGE Journals Online and HighWire Press platforms): http://dis.sagepub.com/cgi/content/refs/7/2/173 Downloaded from http://dis.sagepub.com by Ken Hyland on August 19, 2008 © 2005 SAGE Publications. All rights reserved. Not for commercial use or unauthorized distribution. ARTICLE 173 Stance and engagement: a model of interaction in academic discourse Discourse Studies Copyright © 2005 SAGE Publications. (London, Thousand Oaks, CA and New Delhi) www.sagepublications.com Vol 7(2): 173–192. 1461-4456 KEN HYLAND (200505) 7:2; UNIVERSITY OF LONDON 10.1177/1461445605050365 ABSTRACT A great deal of research has now established that written texts embody interactions between writers and readers. A range of linguistic features have been identified as contributing to the writer’s projection of a stance to the material referenced by the text, and, to a lesser extent, the strategies employed to presuppose the active role of an addressee. As yet, however, there is no overall typology of the resources writers employ to express their positions and connect with readers. -
Moyo, Arifani. 'Indigeneity and Theatre in the New South Africa.'
Indigeneity and Theatre in the New South Africa Arifani James Moyo Royal Holloway, University of London PhD in Theatre Studies 2015 Declaration of Authorship I, Arifani James Moyo, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 30 June 2015 2 Acknowledgements The writing, research and all sponsorship for this PhD thesis were part of the international, multidisciplinary humanities research project, Indigeneity in the Contemporary World: Politics, Performance, Belonging (2009 – 2014), a project that Professor Helen Gilbert initiated and led with funding from the European Research Council. The project headquarters was the Centre for International Theatre and Performance Research (CITPR) at the Department of Drama and Theatre, Royal Holloway University of London. The project looked at ―how indigeneity is expressed and understood in our complex, globalising world‖, and the diverse ways in which indigeneity‘s ―cultural, political, ethical and aesthetic issues are negotiated‖ through ―performance as a vital mode of cultural representation and a dynamic social practice‖ (www.indigeneity.net). The core research team included anthropologists and arts scholars with experience in indigenous peoples‘ movements of the Americas, Australia and the Pacific Islands. The project widely networked, and also hosted numerous fellowships, with indigenous scholars, artists and activists from around the globe. My task was to explore the topic of ‗Indigeneity in the New South Africa‘. I thank Professor Gilbert for this extraordinary experience, and for supervising the PhD. I also thank Professor Matthew Cohen, Doctor Lynette Goddard and Professor David Wiles for their generous support of the supervision.