Input and Evidence: the raw material of second language acquisition is an empirical and theoretical treatment of one of the essential components of SLA: the input to language learning mechanisms. It reviews and adds to the empirical studies showing that negative evidence (correction, feedback, repetitions, reformulations) play a role in language acquisition in addition to that played by ordinary conversation. At the same time, it embeds discussion of input within a framework which includes a serious treatment of language processing, including the problem of modularity and the question of how semantic representations can influence grammatical ones. It lays the foundation for the development of a truly explanatory theory of SLA in the form of the Autonomous Induction Theory which combines a model of induction with an interpretation of Universal Grammar, thereby permitting, for the the first time, a coherent approach to the problem of constraining induction in SLA.
This book draws on the work of anthropologist Alfred Gell to reinstate the importance of the object in art and society. Rather than presenting art as a passive recipient of the artist's intention and the audience's critique, the authors consider it in the social environment of its production and reception. A Return to the Object introduces the historical and theoretical framework out of which an anthropology of art has emerged, and examines the conditions under which it has renewed interest. It also explores what art 'does' as a social and cultural phenomenon, and how it can impact alternative ways of organising and managing knowledge. Making use of ethnography, museological practice, the intellectual history of the arts and sciences, material culture studies and intangible heritage, the authors present a case for the re-orientation of current conversations surrounding the anthropology of art and social theory. This text will be of key interest to students and scholars in the social and historical sciences, arts and humanities, and cognitive sciences.
This book introduces readers to the diverse field of feminist studies on the Hebrew Bible. Not organized as a traditional introduction to the "Old Testament," the manuscript does not follow a biblical book-by-book structure, but provides an introductory survey of the history and issues as they relate to feminist readings and readers of the Hebrew Bible. Accordingly, feminist scholars of the Bible, their career struggles, and biblical texts, characters, and themes stand in the forefront of this introduction. The volume is biased toward "Western" feminist scholarship because of the historical developments of feminist scholarship in general and biblical studies in particular. Yet, the chapters also include African, Asian, and Latin American perspectives on feminist studies of the Hebrew Bible. In short, the book offers an overview on the historical, social, and academic developments of reading the Hebrew Bible as the "Women's Hebrew Bible.
The phrase “midlife crisis” today conjures up images of male indulgence and irresponsibility—an affluent, middle-aged man speeding off in a red sports car with a woman half his age—but before it become a gendered cliché, it gained traction as a feminist concept. Journalist Gail Sheehy used the term to describe a midlife period when both men and women might reassess their choices and seek a change in life. Sheehy’s definition challenged the double standard of middle age—where aging is advantageous to men and detrimental to women—by viewing midlife as an opportunity rather than a crisis. Widely popular in the United States and internationally, the term was quickly appropriated by psychological and psychiatric experts and redefined as a male-centered, masculinist concept. The first book-length history of this controversial concept, Susanne Schmidt’s Midlife Crisis recounts the surprising origin story of the midlife debate and traces its movement from popular culture into academia. Schmidt’s engaging narrative telling of the feminist construction—and ensuing antifeminist backlash—of the midlife crisis illuminates a lost legacy of feminist thought, shedding important new light on the history of gender and American social science in the 1970s and beyond.
Gothic forms of feminine fictions is a study of the powers of the Gothic in late twentieth-century fiction and film. Susanne Becker argues that the Gothic, two hundred years after it emerged, exhibits renewed vitality in our media age with its obsession for stimulation and excitement.
This book examines the ways that Classical and Renaissance epic poems often work against their expressed moral and political values. It combines a formal and tropological analysis that stresses difference and disjunction with a political analysis of the epic's figurative economy. It offers an interpretation of three epic poems - Homer's Iliad, Virgil's Aeneid, and Spencer's Faerie Queene - that focuses on the way these texts make apparent the aesthetic, moral, and political difference that constitutes them, and sketches, in conclusion, two alternative resolutions of such division in Milton's Paradise Lost and Cervantes' Don Quixote, an 'epic' in prose. The book outlines a theory of how and why epic narrative may be said to subvert certain of its constitutive claims while articulating a cultural argument of which it becomes the contradictory paradigm. The author focuses on the aesthetic and ideological work accomplished by poetic figure in these narratives, and understands ideology as a figurative, substitutive system that resembles and uses the system of tropes. She defines the ideological function of tropes in narrative and the often contradictory way in which narratives acknowledge and seek to efface the transformative functions of ideology. Beginning with what it describes as a dual tendency within the epic simile (toward metaphor in the transformations of ideology; toward metonymy as it maintains a structure of difference), the book defines the politics of the simile in epic narrative and identifies metalepsis as the defining trope of ideology. It demonstrates the political and poetic costs of the structural reliance of allegorical narrative on catachresis and shows how the narrator's use of prosopopoeia to assert political authority reshapes the figurative economy of the epic. The book is particularly innovative in being the first to apply to the epic the set of questions posed by the linking of the theory of rhetoric and the theory of ideology. It argues that historical pressures on a text are often best seen as a dialectic in which ideology shapes poetic process while poetry counters, resists, figures, or generates the tropes of ideology itself.
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