Bill Patten grew up in the heart of privileged society to American parents -- a debutante mother, a diplomatic father -- stationed in Europe. Weekends away from his English boarding school were often spent at the regal country estates of important policy makers and historical figures of the mid-twentieth century. When Bill was twelve years old, his father, William Patten, died, and his mother remarried the renowned columnist Joe Alsop. Patten was swept into Washington during the Kennedy years, where he bore witness to his stepfather's legendary power-brokering, and watched a very different father figure at work. In 1996, when he was forty-seven years old, Bill Patten learned that his biological father was not William Patten, but the noted English diplomat, Duff Cooper. In this quest to know his triumvirate of fathers, Bill Patten offers an unforgettable memoir. My Three Fathers is a search for identity -- and a luscious chronicle of a fascinating, bygone era of American aristocracy.
In this module on communication, the reader explores the nature and consequences of a particular definition of communication: the expression and interpretation of meaning in a given context. Special attention is given to context (i.e., physical setting, participants, purpose of communication) and how these impact how we think about communication in language classrooms. Please visit the series companion website for more information: http://routledgetextbooks.com/textbooks/9781315679594/
This module on the nature of language aims to provide the novice and even experienced teacher with a broad and accessible picture of language as a formal system. As such, it covers topics such as the nature of words, sounds, and syntax. The module places particular emphasis on the abstract and complex nature of language and how it does not resemble typical pedagogical rules and so-called "rules of thumb" often used with language learners. Please visit the series companion website for more information: http://routledgetextbooks.com/textbooks/9781315679594/
The amusing pieces in "Bill Nye's Sparks" were penned by Edgar Wilson Nye, writing under the pen name Bill Nye. Renowned American humourist and journalist Bill Nye was well-known for his sharp mind and caustic viewpoint on a wide range of topics. Readers can anticipate several amusing observations and commentary on society, daily life, and human behavior in "Bill Nye's Sparks." To keep his audience entertained, Nye uses a unique comedic style that combines wordplay and satire. The pieces offer a light-hearted look at the peculiarities and eccentricities of late 19th-century American culture on a variety of subjects. Although the essays' exact subjects may differ, readers can always count on Nye's distinctive humour and his ability to make the mundane hilarious. The word "Sparks" in the title can imply that Nye's works are humorous or insightful sparks that cause others to laugh and think. All things considered, the book is a charming illustration of American humour from the 19th century and the caustic approach that made Bill Nye famous.
This Element explores the roles of explicit and implicit learning in second language acquisition. The authors lay out some key issues that they take to underlie the debate on the extent to which second language acquisition involves explicit learning, implicit learning, or both. They also discuss what they take to be an oversight in the field: namely, the lack of clear definitions of key constructs. Taking a generative perspective on the nature of language, while addressing alternative approaches at key points, they refocus the discussion of explicit and implicit learning by first asking what must be learned (i.e., what is this mental representation we call “language” that all functioning humans possess?) The discussion and research reviewed leads to the conclusion that second language acquisition is largely if not exclusively implicit in nature and that explicit learning plays a secondary role in how learners grapple with meaning.
Bill Patten grew up in the heart of privileged society to American parents -- a debutante mother, a diplomatic father -- stationed in Europe. Weekends away from his English boarding school were often spent at the regal country estates of important policy makers and historical figures of the mid-twentieth century. When Bill was twelve years old, his father, William Patten, died, and his mother remarried the renowned columnist Joe Alsop. Patten was swept into Washington during the Kennedy years, where he bore witness to his stepfather's legendary power-brokering, and watched a very different father figure at work. In 1996, when he was forty-seven years old, Bill Patten learned that his biological father was not William Patten, but the noted English diplomat, Duff Cooper. In this quest to know his triumvirate of fathers, Bill Patten offers an unforgettable memoir. My Three Fathers is a search for identity -- and a luscious chronicle of a fascinating, bygone era of American aristocracy.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture.
This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
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