Journal articles on the topic 'Balanced reading instruction'

This experimental/comparison study of secondary-level, small-group instruction included 318 first- and second-grade students (170 ELL and 148 English-only) from six elementary schools. All schools served high numbers of ELL students with varying school SES in urban and suburban communities. Experimental schools implemented a three-tier model of intervention. In addition to primary-tier reading instruction, the second-tier, small-group experimental interventions included use of (a) evidence-based direct instruction reading curricula that explicitly targeted skills such as phonological/phonemic awareness, letter-sound recognition, alphabetic decoding, fluency building and comprehension skills; and (b) small groups of 3 to 6 students. Students at comparison schools were not exposed to a three-tier reading program but received (a) an ESL intervention using balanced literacy instruction with a focus on word study, group and individual story reading, and writing activities; and (b) small groups of 6 to 15 students. The ESL/balanced literacy intervention was generally in addition to primary reading instruction. Results indicated generally higher gains for ELL students enrolled in direct instruction interventions. Implications for research and practice are discussed.

In this study we compared the use of two supplemental balanced and strategic reading interventions that targeted the decoding, fluency, and reading comprehension of upperelementary and middle school students with reading disabilities (RD). All students had significant delays in decoding, fluency, comprehension, and language processing. Two comparable, intensive tutorial treatments differed only in the degree of explicitness of the comprehension strategy instruction. Overall, there was meaningful progress in students' reading decoding, fluency, and comprehension. Gains in formal measures of word attack and reading fluency after five weeks of intervention translated into grade-equivalent gains of approximately half a school year. Analysis of the trends in the daily informal fluency probes translated into a weekly gain of 1.28 correct words per minute. The more explicit comprehension strategy instruction was more effective than the less explicit treatment. Findings are discussed in light of the question of how to maximize the effects of reading interventions for older children with RD.

There is intense public interest in questions surrounding how children learn to read and how they can best be taught. Research in psychological science has provided answers to many of these questions but, somewhat surprisingly, this research has been slow to make inroads into educational policy and practice. Instead, the field has been plagued by decades of “reading wars.” Even now, there remains a wide gap between the state of research knowledge about learning to read and the state of public understanding. The aim of this article is to fill this gap. We present a comprehensive tutorial review of the science of learning to read, spanning from children’s earliest alphabetic skills through to the fluent word recognition and skilled text comprehension characteristic of expert readers. We explain why phonics instruction is so central to learning in a writing system such as English. But we also move beyond phonics, reviewing research on what else children need to learn to become expert readers and considering how this might be translated into effective classroom practice. We call for an end to the reading wars and recommend an agenda for instruction and research in reading acquisition that is balanced, developmentally informed, and based on a deep understanding of how language and writing systems work.

Abstract Our study investigated the differences in low-level L1 skills and L2 reading, listening, and reading-while-listening outcomes between young dyslexic and non-dyslexic Slovenian learners of English. The research, in which children completed four language assessment tasks in three modes in a carefully counter-balanced order, also examined the relationship between low-level L1 skills and L2 reading, listening, and reading-while-listening performance. The findings show that, in Slovenian, which is a transparent language, dyslexic students are behind their non-dyslexic peers in word-level L1 skills after five years of literacy instruction. The results also call attention to the fact that students with weak L2 reading and listening skills might not always be at risk of, or diagnosed as having, dyslexia. Importantly, the findings suggest that the accuracy and speed of real and non-word reading in L1 might serve as useful indicators of L2 reading difficulties of young language learners. Furthermore, L1 dictation tests were also found to yield diagnostic information on young L2 learners’ listening and reading-while-listening problems.

Introduction: Reading Adventure Time!, formerly known as the pilot version of the iBraille Challenge Mobile App, is an educational technology tool integrating digital literacy to support braille reading and writing instruction for students in 1st–12th grades. Designed to operate on an Apple iPad with a refreshable braille display, Reading Adventure Time! uses gaming strategies to motivate students to improve literacy skills such as fluency, comprehension, writing dictation, and proofreading. Methods: The application (app) was developed under a Stepping Up Technology grant (H327S120007), which was disseminated to more than 50 teachers and students. Teachers and caregivers completed a Likert-type scale of technology skills as a pre- and postmeasure. Students’ reading speed, comprehension, and miscues were measured by the app. Results: Over 50 participants who used the app showed gains in reading and technology skills. Discussion: Students’ reading speeds, as measured by the app, mirror the reading speeds found in prior research (e.g., the ABC Braille Study). The impact on technology skills for teachers, caregivers, and students was much greater than anticipated. Implications for practitioners: The study provides evidence supporting Reading Adventure Time! as a supplemental intervention that addresses several reading skills and may be used in conjunction with a total, balanced literacy program.

Teaching a language whether English for Foreign Language (EFL) or English as a Second Language (ESL) always focuses on the four skills: listening, speaking, reading and writing and should have applied into a well-balanced implementation to each. Highlighted by Nunan (1998) that over 50 % of the time spent by the students is for listening in learning a foreign language therefore it plays significant role in language development. The complexity occurs when the teaching-learning process is lack of adequate attention on improving their listening skill rather than testing their comprehension. Therefore by applying principles of ‘Meaning, Interesting, New Language, Understanding, and Stress-free (MINUS)’ might assist the teachers to come up with sufficient techniques to make the students can easily engage and obtain language items. Opportunities are discussed which may lead to a more productive learning time in listening by providing attractive variation of teaching. The desired outcomes for both principles and points of approach can accommodate teachers to develop their students listening skill as has been set in their lesson plan.

AbstractThis article examines recent research and developments relating to the role of phonemic awareness and phonics in early literacy education and the relevance of these findings for school counsellors and teachers. It defines and reviews the role of phonemic awareness and phonics in theoretical models of reading processes, including whole-language, code-based and balanced literacy programs, to determine the varying degrees of significance attributed to these components in early reading instruction. It critically reviews recent national and international government research, reports and recommendations to examine how phonemic awareness and phonics are conceptualised and translated into educational policy. In doing so, the article highlights the need for establishing a comprehensive and explicit theoretical and practical framework for the teaching of phonemic awareness and phonics, and a thorough analysis of the range of traditional and contemporary methods of teaching phonemic awareness and phonics in the classroom. The importance of school counsellors having a greater understanding of research about contemporary best practices in literacy education, and a key role, in partnership with teachers, in ensuring such knowledge is put into practice, is emphasised.

ABSTRACT There is an emerging phenomenon in some universities including STKIP PGRI Jombang regarding a compelling need of a test that can replace the existing paper-and-pencil based reading comprehension test, which is conventional, impractical, and time consuming. To fulfill the need, a model of an online reading comprehension summative test was developed, involving a number of essential micro skills of reading. The design of the study was Educational Research and Development (R&D), involving 100 subjects in the try-out stage. The instruments used were interview guides and questionnaire. Based on the tryout analysis, the reliability was .779, in which thirty one items were categorized as valid items. For the ease of scoring and the balanced number of the indicators under interest, only 25 items were included in the model test. Based on the students’ questionnaire, more than 80% subjects responded positively. The final product of this research was a set of an online reading comprehension test kit that includes the blueprint, the test (in form of paper and screenshot of the online version), the answer key, and the instruction to access the online test. ABSTRAK Di beberapa universitas termasuk STKIP PGRI Jombang, muncul kebutuhan penting sebuah tes yang bisa menggantikan tes membaca berbasis paper-and-pencil sebelumnya yang konvensional, tidak praktis dan memakan banyak waktu. Untuk memenuhi kebutuhan tes yang bisa mengatasi masalah tersebut, dikembangkanlah sebuah model tes membaca sumatif online. Desain penelitian ini adalah penelitian pengembangan, yang melibatkan 100 subjek dalam tahap try-out. Instrumen yang digunakan adalah interview guide dan kuesioner. Berdasarkan analisis butir soal, nilai alpha atau reliabilititas adalah 0.779. 31 butir soal dikategorikan sebagai butir soal yang valid. Untuk kemudahan penilaian dan keseimbangan jumlah indikator yang diinginkan, hanya 25 butir soal yang digunakan dalam model tes. Berdasarkan kuesioner mahasiswa, lebih dari 80% subjek merespon secara positif. Produk akhir dari penelitian ini adalah satu set online reading comprehension test yang meliputi kisi-kisi, tes (dalam bentuk kertas dan screenshot versi online), kunci jawaban dan instruksi untuk mengakses tes online. How to Cite: Sofa., Sulistyo, G.H. (2017). A Model of an Online Reading Comprehension Summative Test for College Students. IJEE (Indonesian Journal of English Education), 4(2), 168-187. doi:10.15408/ijee.v4i2.8344

The purpose of this study was to examine the relationship between input and literacy/ metalinguistic development in bilingual children. Participants included fourth-grade Chinese-English bilinguals from Taiwan and the USA. The two groups were comparable in socioeconomic status, non-verbal IQ, and the amount of literacy instruction in Chinese and English, but the bilingual participants from Taiwan had more exposure to Chinese and less exposure to English outside of school than their US counterparts. A battery of standardized and researcher-developed measures of literacy and metalinguistic skills were administered in English and Chinese. Results showed that, in general, the greater the amount of input, the more superior the linguistic/metalinguistic development. However, advantages associated with input appeared to be offset by a more balanced bilingual experience on measures that assessed higher levels of metalinguistic awareness. In addition, hierarchical regression analyses showed that morpho-syntactic awareness made a unique contribution to reading comprehension beyond that by vocabulary and morphological awareness only among the participants in Taiwan. The findings make several noteworthy contributions to research on input among bilingual learners. Firstly, the present study highlights the importance of recognizing the variations of bilinguals who speak the same pair of languages, and the impact of linguistic input outside of the school context on language and literacy development in academic settings. Secondly, findings from the present study call for a broader conceptualization of the relationship between input and linguistic/metalinguistic development, and underscore the importance of examining how input may impact the relationship of linguistic and metalinguistic variables. Finally, the present study highlights the need to re-conceptualize input. Indicators of input should go beyond to the quantity or quality of exposure to the assessed language, and be expanded to include the degree of balance in both languages.

Abstract The existence of gender peer effects has been well-documented, yet regarding estimates that are best-suited for policy formation, the literature finds somewhat mixed results. This article builds on the gender peer effects literature in a number of ways. First, we focus on early elementary school students, for which fewer studies exist. We also test whether effects in early elementary grades are subject-specific. Contrary to findings for older grade levels, we find that estimates by gender are subject-specific for the early elementary grades. Second, previous studies using similar estimation have focused on very different geographical areas, while this study makes use of nationally representative elementary school data for the United States. Third, we explore whether effects vary across grades, for which the existing literature finds mixed results. We find that the negative subject-specific effects of having a higher proportion of boys in the classroom increases in magnitude across grades, with insignificant effects in kindergarten, negative and significant by first grade, and larger negative and significant effects by third grade. Our findings suggest that a more balanced gender mix in the classroom is optimal for both reading and math comprehension for both boys and girls. However, regarding math performance, there is also suggestive evidence that a 100% separation of genders could improve girls’ math performance without consequences for boys’ math performance, motivating further research into single-gender subject-specific instruction.

For a century, English language teaching has, for the main part, discarded behaviorist-inspired methodologies such as the Audio-lingual method for constructivist approaches characterized by the Communicative Approach. Exploring the tension between behaviorist/constructivist dichotomies and searching for common ground between the two schools of thought can give rise to alternative approaches. A ‘Principled Eclectic Approach’ to language teaching is one way whereby a pluralism of methodologies is favored in the pursuit of more effective Second Language Acquisition. Using Brown’s Post-Method Principles (2002) and Mellow’s Two Dimensional Model and Centring Principle (2002) as a guide and point of reference, teachers can gauge their approach and effectiveness in a more dynamic learning environment. A two-part research study aimed to introduce a more Principled Eclectic Approach to academic English language instruction in higher education. Firstly, translation aimed to let students bring their mother tongue into the classroom. The rationale for this exercise being that the more meaningful the encounter with the target language, the better the acquisition. The second experiment looked to use music as a way to create a more relaxed learning environment during reading comprehension activities. The premise being that we acquire language better when we are relaxed. Feedback from the study revealed that the content was balanced, coherent, met the needs of the learner and the needs of the wider syllabus. Students were positive when taking part in the lessons as they believed that the methodologies tested helped them with their English acquisition. Subsequently, they wanted further exposure to these methodologies.

Whole language is an approach to teaching written language that focuses on the oral language experiences of the child, and the communication of meaning through print, rather than emphasizing the teaching of reading skills such as word recognition, sound symbol associations, or sound blending. This paper provides a critical analysis of the whole language approach, describing both its strengths and weaknesses. An integrated instructional approach which balances meaning and exposure to literature with skills instruction and practice is recommended.

The interdependency of relationships and energy flow in ecosystems are crucial biological concepts that students frequently find hard to understand. They are one of the foundations to the survival of living things and the complex processes that balance life on Earth. The ability to interpret food chains and food webs is fundamental in the communication and understanding of relationships between organisms in the domain of biology. I examine the ways elementary-level students read a simple food web diagram and the effect this has on their understanding of the encapsulated biology concepts. Diagram reading approaches are described along with analysis of how meaning making is influenced by students' preconceived ideas. The results indicate the students experienced a range of difficulties in reading the food web diagram. I conclude that food web instruction must address prior knowledge, challenge preconceptions, and involve deep diagram processing. The research provides insights into the difficulties high school students have in comprehending food webs and understanding relationships in ecosystems.

AbstractPoor comprehenders are generally students who have significant language-learning deficits. A particular problem for students with poor comprehension is that they have difficulty learning new vocabulary because they are inclined to read less, and are unable to apply new meanings to unfamiliar words. This leads to the situation where the gap widens between them and their more successful peers, resulting in more noticeable reading difficulties in later grades. They generally have good word decoding skills but have difficulty connecting meaning to unfamiliar words in context. This is often problematic because they have particular difficulties making inferences and forming a coherent mental model of what they have read. However, effective vocabulary instruction can be achieved by the incorporation of an intervention framework that balances the teaching of word-learning strategies with strategies fostering whole story integration. This article introduces a pedagogical construct based on a modified KWL framework using a combination of evidence-based visual and verbal instructional methods, in conjunction with the development of metacognitive and self-regulating strategies. The implication is that the cognitive load on working memory will be reduced and overall story comprehension will be improved when a well-constructed pedagogical framework is utilised to enhance the acquisition of new vocabulary during reading.

Purpose: This article describes a study on the scaffolding of learning to read in a primary-level, continuous-progress, inclusion classroom that stressed a critical thinking curriculum and employed a collaborative teaching model. Two emergent reading groups were the focus of study—one group that was taught by a general educator and the other by a special educator. The primary purposes were to discern the teachers’ discourse patterns in order to define whether scaffolding sequences were more directive or more supportive and the degree to which these sequences represented differentiated instruction for children with a language learning disability (LLD). Method: Two students with an LLD and two younger, typically developing peers were videotaped in their emergent reading groups during an 8-week period. The distribution, types, and functions of teacher scaffolding sequences were examined. Results: Both team members primarily used directive scaffolding sequences, suggesting that the assistance provided to children emphasized only direct instruction (skill learning) and not analytical thinking concerning phonemegrapheme relationships (strategy learning). Distribution of scaffolding sequence types directed to the four students indicated that the two children with an LLD were receiving reading instruction that was undifferentiated from the two typically developing, younger children. Clinical Implications: In order for children with an LLD to benefit from inclusion, explicit, systematic, and intensive instruction in phonological awareness and spelling-sound relationships should be implemented within the context of multilevel instruction that balances skill- and strategy-based learning.

The quality of educational institutions is influenced by teaching and learning process that is students and lecturers. Novalita (2006) state that to learn a language the learners need more than just once or twice, but they need many time to understand the language, the real meaning of the language, the structure of the language, and so on. There is no good strategies in teaching process, but suitable strategy which is can be used in the teaching process. Therefore, every teacher or lecturer should master many strategies in the teaching and learning process. Some strategies can be applied to some students or learners, but it can’t be applied to all of students or learners. he goal of this study is to observe how the teacher implements English teaching instruction at English language center (PKPBI). Besides that, what are the material used and the way how teacher evaluates and also how do the learners perceive the English teaching instruction at English language center (PKPBI) of Maulana Malik Ibrahim state Islamic university of Malang. This study was a qualitative research because this study is a case study which focuses on teaching process. The data collections used in this study were observation, interview, and documentation. In order to analyze the data collected in the research project and answer the core questions of the study, it was used the grounded theory. The researcher found that the contents of the material used was reading section characterized by provision of an English reading text on mathematic-content-related area followed by writing exercises. The teacher implement English teaching instruction with the aim of answering the question, it can be concluded that for the beginning of teaching, there were a big amount of mistakes with the guidance and no explicit implementation of grammatical aspects during the lessons, because the teacher intents to present language items as in a regular language course. The balance between content and language was not easy to manage either, because in some situations the teacher tends to focus more in language or in content. The teacher evaluate by her choice of evaluation. She felt confused and scared at the beginning of the experience. About perceiving of the learners, the researcher concluded that the students feel challenging with the process of teaching and learning in the class, they also interesting with because they can continued applied what they learn. Key words: Teaching instruction, Non-English learners

Aims and objectives: As some Programme for International Student Assessment (PISA) studies claimed that native speaking (NS) students outperform language minority (LMi) students, far-reaching inferences have been drawn by policymakers. However, previous PISA assessments were not appropriate because they only included a dichotomous home language variable. The main objective of this study is to gain a better understanding of how students’ language background and use are related to academic achievement. Design: The PISA data from 2012 provides a unique opportunity to fill this research lacuna as it includes a more elaborated questionnaire on language background and use. Data and analysis: Multivariate three-level analyses are conducted on PISA 2012 data from 18 countries, covering about 5,000 schools and 120,000 students. Findings: The results show that there is an achievement gap between LMi and NS students for both reading and math. After controlling for students and school characteristics, the LMi–NS achievement gap narrows, but remains significant. This holds true for most countries. However, language use per se is not the cause of underachievement: LMi students who more often speak a minority language with their parents do not achieve less. In some countries, speaking a minority language more often with parents is actually positively related to math and reading achievement. Nevertheless, speaking the instruction language in the school context is positively associated with math and reading achievement. Originality and significance: This study revealed that the relation between language use and academic achievement is more complex than it was conceptualized in most previous PISA studies. Scholars need to go beyond the dichotomous approach to achieve a better understanding of language use. Our results show that linguistic diversity could function as an asset for academic performance, at least if a good balance between focus on minority languages at home and instruction language at school can be found.

This research developed English Instructional materials for character building based on 2013 Curriculum. The research was carried out in a class of 8th graders of SMP Darul Falah Blitar. The 23 students were involved in this research in the phase of obtaining information, needs analysis and trying out. The result of needs analysis became the basis of how the researcher composed the English instructional materials with Scientific Approach, official approach of 2013 Curriculum. In the product, an English textbook, the four skills are balance improved; listening, speaking, reading and writing. All of the materials are appropriate with 2013 Curriculum and the contents refer to students’ character building. The materials are for a year of 8th grade which are packaged into seven units. All the steps of learning and exercises in the materials are based on Scientific Approach which has five steps: observing, associating, experimenting, associating and communicating.

Purpose The purpose of this paper is to explore the implications for student learning when accounting education is delivered in the student’s non-native language. It examines the impact on learning arising from the different components of English language competencies, namely, listening, reading, writing, and speaking. Design/methodology/approach The data are drawn from focus group interviews with students from Mainland China undertaking an accounting degree in Australia. Findings The findings indicate that students relied primarily on their reading instead of listening to seek understanding, and in turn, writing was considered less important compared to listening and reading. Notably, speaking was overlooked by many students as it was considered the least important skill necessary to achieve success as a student and to be a competent practitioner. Students developed a misconception that the quality of oral communication required of accountants in practice is unimportant. Practical implications The findings will assist accounting educators and the accounting profession in designing and implementing appropriate instructional strategies and assessment tasks for international students. One suggestion includes a more balanced weighting between written and oral assessment. Originality/value Few studies have specifically explored the impact of English language on learning accounting. While some studies examine specific aspects of language as a unitary concept, little has been reported on the impact of all components of the language skill-set on student learning.

Este artigo traz uma atividade de leitura para Histórias da Velha Totônia, de José Lins do Rego, um guardião da memória e da tradição do seu tempo de infância e juventude. O objetivo deste trabalho é mostrar como a carga simbólica e significativa que envolve essa obra pode ser explorada na escola, numa turma de 7º ano do Ensino Fundamental, quando associada ao trabalho com o ensino da compreensão leitora. Evidencia-se como, a partir dessa obra da literatura infantojuvenil, que destaca a contação de histórias, é possível acionar o conhecimento prévio para estabelecer conexões, fazer inferências, sumarizar e sintetizar para compreender as quatro aventuras contadas pela Velha Totônia. A contação de histórias desperta o interesse pela leitura e contribui para a formação de leitores proficientes. Dentro da temática dos clássicos, as histórias da Velha Totônia são ambientadas no Nordeste brasileiro. Por envolver aspectos da constituição social de um povo, a leitura consiste em um instrumento constituidor de subjetividades e da formação inteligível de um ser. Por isso, essa proposta une contação de histórias e estratégias de compreensão leitora. Apresenta uma prática de leitura que, não só facilita, mas também viabiliza o processo de compreensão integral das histórias da boa velhinha, que saía pelos engenhos contando histórias de Trancoso. Compreender e interpretar os diversos tipos de textos, a partir de diferentes finalidades contribui de forma significativa para o desenvolvimento potencial das pessoas e sua atuação numa sociedade letrada.Recebido em: 06-05-2020Revisões requeridas em: 28-07-2020Aceito em: 04-08-2020REFERÊNCIAS:BAKHTIN, Mikhail. Questões de literatura e estética: a teoria do romance. São Paulo: Hucitec, 2014.BOSI, Alfredo. História concisa da literatura brasileira. São Paulo: Cultrix, 2013.BOSI, Ecléa. MEMÓRIA E SOCIEDADE: lembranças de velhos. São Paulo: T. A. Quelroz, Editor, LTOA. Universidade de São Paulo, 1979. Disponível em https://edisciplinas.usp.br/pluginfile.php/4214438/mod_resource/content/1/BOSI%2C%20E.%20Mem%C3%B3ria%20e%20sociedade.%20Introdu%C3%A7%C3%A3o.pdf.CARPEAUX, Otto Maria. Pequena bibliografia crítica da literatura brasileira. Ministério da Educação: Serviço de Documentação, 1951. Disponível em: https://kupdf.net/download/carpeaux-otto-pequena-bibliografia-critica-da-literatura-brasileirapdf_5a5e4835e2b6f53a67e6f051_pdf. DALCASTAGNÈ, Regina. Literatura brasileira contemporânea: um território contestado. Horizontes: São Paulo, 2018.DALVI, Maria Amélia. Literatura na educação básica: propostas, concepções, práticas. Cadernos de Pesquisa em Educação – PPGE/UFES, Vitória, ES. a. 10, v. 19, n. 38, p. 11-34, jul./dez. 2013.DAVIS, Lynn e SOUZA, Renata Junqueira. Entendendo textos: estratégias para a sala de aula. Leitura. Teoria Prática, 2009. v. 1, p. 31-37.FISCHER, Luis Augusto. Literatura brasileira: modos de usar. Porto Alegre: LPM, 2007.FRANCHETTI, Paulo. Estudos de literatura brasileira e portuguesa. São Paulo: Ateliê Editorial, 2007.HARVEY, Stephanie; GOUDVIS, Anne. Strategies that work. Teaching comprehension for undderstanding and engagement. USA: Stenhouse Publishers Pembroke Publishers, 2008.MOISÉS, Massaud. A literatura brasileira através dos textos. São Paulo: Cultrix, 2012.PRESSLEY, Michael. Reading instruction that works: The case for balanced teaching, 2nd edition. New York: Guilford, 2002.REGO, José Lins do. Histórias da velha Totônia. Rio de Janeiro: Ed. José Olympio, 2010.SANTOS, Ana Maria Martins da Costa e SOUZA, Renata Junqueira de. Andersen e as estratégias de leitura. Campinas-SP: Mercado de Letras, 2011.SANTOS, Luciene Souza; ARAPIRACA,Mary de Andrade. Testamento das gentes das maravilhas. Revista EntreIdeias. Vol. 6, n. 2 (jan./jun. 2017). Salvador: Universidade Federal da Bahia, Faculdade de Educação, 2017. Disponível em file:///C:/Users/Cliente/Desktop/21675-84608-1-PB.pdf.SOLÉ, I. Estratégias de leitura. Porto alegre: Artes médicas, 1998.ZILBERMAN, Regina. A leitura e o ensino da literatura. São Paulo: Contexto, 1988.ZIMMERMANN, Susan; HUTCHINS, Chryse. 7 keys to comprehension: how to help your kids read it and get it! Portsmouth NH: Three Rivers Press, 2003.

The experiments presented here used a visual version of the syllable monitoring technique (Mehler, Dommergues, Frauenfelder, & Segui, 1981) to investigate the role of syllabic units in beginning and adult readers. Participants responded whenever a visually presented target syllable (e.g., BA) appeared at the beginning of a subsequently presented printed word (e.g., BALANCE). The target was either a consonant–vowel (CV) or consonant–vowel–consonant (CVC) structure and either did or did not correspond to the initial syllable of the target-bearing word. Skilled adult readers showed significant effects of syllable compatibility (faster detection times when the targets corresponded to the initial syllable of target-bearing words than when they did not), but this occurred only when the carrier words had low printed frequencies. First grade readers did not show a syllable compatibility effect when tested in February of the first year of schooling; only target length influenced detection times. When tested four months later (June), however, the children with the highest scores on a reading ability test did show a syllable compatibility effect. These results suggest that reading instruction rapidly allows syllable-sized units to be accessed from print, and that this type of coding continues to influence how adult readers process low frequency words.

This curent study conducts research and development aiming to developed an appropriate English Instructional materials for Islamic characters based on saintific approach in 2013 Curriculum. Futhermore, this study were carried out at second and the third grade of Islamic Junior High School Mataram with total number 30 students involved as well as participants. In the phase of obtaining information, needs analysis and trying out, this study utilized a reserch and development study with saintific approach i.e. observing, associating, experimenting, associating and communicating. This study utilized needs analysis as main instrument in composing the English instructional materials through Scientific Approach, official approach of 2013 Curriculum. The product of the study shows that an English textbook, the four major skills of english were balance improved,i.e. listening, speaking, reading and writing. All of the materials are appropriate with the saintific aprroach in 2013 Curriculum and the contents refer to students’ Islamic character. The materials are for second and thisd grade of Islamic junior hihg School which are laid out into seven units. To summ up, the laid out and composition of the english material were developed based on Scientific Approach in term of steps and exercises of learning materials.

PURPOSE AND SCOPE OF THE POINT:COUNTERPOINT DEBATES This series of debates was initiated for the Journal of Applied Physiology because we believe an important means of searching for truth is through debate where contradictory viewpoints are put forward. This dialectic process whereby a thesis is advanced, then opposed by an antithesis, with a synthesis subsequently arrived at, is a powerful and often entertaining method for gaining knowledge and for understanding the source of a controversy. Before reading these Point:Counterpoint manuscripts or preparing a brief commentary on their content (see below for instructions), the reader should understand that authors on each side of the debate are expected to advance a polarized viewpoint and to select the most convincing data to support their position. This approach differs markedly from the review article where the reader expects the author to present balanced coverage of the topic. Each of the authors has been strictly limited in the lengths of both the manuscript (1,200 words) and the rebuttal (400). The number of references to publications is also limited to 30, and citation of unpublished findings is prohibited.

The program I will present tries to enrich learning encounters of gifted children with literary texts. These encounters are assumed to combine emotional factors with cognitive ones connected to the production of knowledge and its organization. The proposal emphasizes the interaction between these factors through sharpening children's awareness of their involvement in the reading process. The current research proceeds from a general hypothesis that states that intensive and personalized care is needed in order to promote an appropriate balance of cognitive and affective/emotional traits in the gifted child's personality, and to reduce stress, uneven development, and lack of personal contentment, all of which are problems common to the talented. The approach presents the meeting between reader and text as a personal encounter that allows the young reader to fashion his own instruments of textual analysis, basing himself on affective experience and intellectual abilities related to the production and organization of knowledge. The process of reading itself, aside from adult support and aid, develops the reader's awareness of the motivational, attitudinal, intellectual and other factors involved in skilled reading, permitting him to transform personal and subjective foci of interest into more abstract and defined tools of text-analysis. The approach is organized around three foci, which emphasize different aspects of the text-reader interface: Reading materials are developed through expanding “core ideas” which reflect a personal focus of interest The role of the reader is stressed through the improvement of his awareness to his use of meta-cognition, insight and vital self-instruction. Adult involvement is particularly significant in planning the steps that will permit transforming a casual experience into a personal and meaningful life-experience. The most salient characteristic of this program is its holistic nature, and its commitment to the creative aspects involved in reading. In the long term, in addition to the design of tools for text analysis, the program encourages the development of different kind of awareness: 1) of cognitive styles, that influence learning styles and its results; 2) of the meta-components of thinking, and 3) of “occurrences” and random feelings that give color and nuances to cognitive components and serve as a motivational background when “meeting” the text.

In the article the J. Derrida’s deconstruction interpretation is reasoned as a detonation. The deconstructor demonstrates that the strategic inflexion in a reading should be started from the tactics of rereading of already written as a «reading in between of lines». Derrida tries to revoke a «logocentric» intonation in favour of, as he thought, «grammatological» articulation. If it was true, we dealt with a field of unbounded, undivided tonation, the every in- of which had been always abrogated beforehand. However, in fact his deconstruction gives a voice those detonations, which will hardly have it as of right. When «Of grammatology» author was deconstructing texts he reread, he proceeded from «really obvious» in-tonation (there was supposed that the whole “logocentric” epoch was tuned on it), and aspired to interpret unheard before de-tonations instead of to balance in a field of tonation. It means his focal point is detonation (dispersion, scattering, burst etc.). As a result, «detonational processes» were activated in his own text too. Grammatological version of philosophy texts reading (detonation) is extrapolated on a modern learning approach. We suggest exploring the difference between the teacher-centred strategy and the learner-centred strategy. Derrida revocates «logocentric» intonation the same as he declines any subordination, which is focused mode of a lector-expertize’s voice as the only source of sense, in favour of «grammatological» articulation. In fact the deconstruction gives voice to suppressed detonation. Maximum of such diffusion allows us to acknowledge students have equal rights to be sources of sense. In West-European teaching discourse it names learner-centred strategy. The conclusion is that the new Derrida’s strategy of reading is divided on three tactic steps, two of which he could perform himself and showed to us, while he could only detect third one by his intuition and invited us to step there ourselves. The first step is the intoning as guiding lines obtaining for the next steps. Philosophy (metaphysics) is opened through traditional «intono-logical» (logocentric) reading strategy. The second step is «suspension» of intonation’s dictat for the sake of dе-tonation of the intoned (any mistake has a positive value. The third step is articulation as perfect techniques of simultaneous reading of in- and de-tonations in their inversely corresponding completeness, which opens the whole field of tonation. The model of the lack of domination promotes the learning situation as a «just play» for all participants: a freed from command role instructor just as one of equal-righted participants of learning process becomes the same learner as students. So every time they together should look for knowledge in the other way then before.

Purpose The purpose of this paper is to describe the ways in which hip-hop pedagogies and literacies encouraged middle school students to explore performance poetry as a tool to “(w)right” the truth(s) about learning and living in their local and global communities. Design/methodology/approach Collaborative self-study research methodologies were used by the author, a black male teacher educator and hip-hop cultural insider, along with two white, female reading specialists and hip-hop cultural outsiders, to collect and analyze the practices and behaviors used in The Shop – an after-school hip-hop-based spoken word poetry club for middle school students in a small, urban public school district in Northeastern USA. Findings Three primary findings emerge: teachers with limited cultural and content knowledge of hip-hop may struggle to negotiate real and perceived curricular constraints associated with using pedagogies with hip-hop texts and aesthetics in traditional school contexts, the intersections of teachers’ racial, cultural and gender identities informed the respective practices and behaviors in a number of interesting ways, and using hip-hop pedagogies for social justice in public schools requires a delicate balance of both transparency and discretion on the part of teachers. Originality/value Study findings are salient for in- and pre-service English teachers and English educators, as they offer insights and reflections on the instructional and relational challenges cultural outsiders may face when using hip-hop culture to create spaces and opportunities for young people to talk back and speak truth to power.

Background:Fatigue in rheumatoid arthritis (RA) is prevalent, intrusive, and disabling [1-3]. It has been shown that fatigue can be reduced, in at least some people with rheumatoid arthritis, using group interventions based on cognitive-behavioral principles [1]. However, the vast majority of the (about 40% [2]) severely fatigued people with rheumatoid arthritis does not have or does not want access to group therapy.Objectives:To develop a self-help booklet aimed at targeting fatigue in rheumatoid arthritis based on cognitive-behavioral principles.Methods:Based on the assumption that the most strongly influencing factors of fatigue differ between people [3], a comprehensive patient-centered approach was chosen. The booklet should be easy to read (big fonts, text boxes, bulleted text, and illustrations). Needed materials should be included.Results:In the booklet, factors that may influence fatigue are demonstrated by a hanging mobile toy, a device with stars or other figures hanging from the ceiling. If one piece moves, all the other pieces move as well. Every individual piece that is part of the mobile influences the other. However, every mobile is different. The large differences in balance between components of mobiles can be compared to the large variety of influences on fatigue in people. Patients first need to identify which factors seem especially important influencers of their own fatigue by sorting seven cards that are included in the booklet. They put the factor of which they think that it most influences their fatigue at the top and the factor that least influences their fatigue at the bottom. The seven cards are:1) severe overweight,2) disease activity,3) day-night rhythm and sleep,4) physical activity,5) emotions and negative thoughts,6) pain, and7) another influence.Interventions targeting these factors are discussed in separate sections of the booklet. Users are invited to start reading the sections with advice regarding the factors that most influence their fatigue. The foldable back cover of the booklet includes the set of seven cards of influencing factors, a diagram to make a 7-day 24-hours day-night rhythm schedule, and instructions to make an action plan.Conclusion:In the Netherlands, the text can be obtained online and as a booklet in rheumatology departments of hospitals and through a national patient association, free of charge. The booklet was translated into English, which makes it accessible to a larger group of patients. It may take up to two months to successfully change lifestyle. It’s an, as yet not empirically verified, hope that the booklet will be more successful than a traditional educational brochure.References:[1]Hewlett S, Almeida C, Ambler N, et al. Reducing arthritis fatigue impact: two-year randomised controlled trial of cognitive behavioural approaches by rheumatology teams (RAFT). Ann Rheum Dis 2019;78(4):465–472.[2]Overman CL, Kool MB, Da Silva JA, Geenen R. The prevalence of severe fatigue in rheumatic diseases: an international study. Clin Rheumatol 2016;35(2):409–415.[3]Geenen R, Dures E. A biopsychosocial network model of fatigue in rheumatoid arthritis: a systematic review. Rheumatology (Oxford) 2019;58(Supplement_5):v10–v21.Disclosure of Interests:Rinie Geenen Speakers bureau: Sanofi Genzyme paid for a lecture on depression in RA.

There are different apprehensions regarding the contemporary assessment system. Often, I listen to my colleagues saying that multiple-choice questions are seen as easier to score. Why can’t all assessments be multiple-choice tests? Some others would say, whether the tests given reflect what students will need to know as competent professionals? What evidence can be collected to make sure that test content is relevant? Others come up with concerns that there is a perception amongst students that some examiners are harsher than others and some tasks are easier than others. What can be done to evaluate whether this is the case? Sometimes, the students come up with queries that they are concerned about being observed when interacting with patients. They are not sure why this is needed. What rationale is there for using workplace-based assessment? Some of the students worry if the pass marks for the assessments are ‘correct’, and what is the evidence for the cut-off scores? All these questions are important, and I would deliberate upon them with evidence from the literature. Deliberating on the first query of using multiple-choice questions for everything, we know that assessment of a medical student is a complex process as there are multiple domains of learning such as cognition, skills, and behaviors (Norcini and McKinley, 2007)(Boulet and Raymond, 2018). Each of the domains further has multiple levels from simple to complex tasks (Norcini and McKinley, 2007). For example, the cognition is further divided into six levels, starting from recall (Cognition level 1 or C1) up to creativity (Cognition level 6 or C6) (Norcini and McKinley, 2007). Similarly, the skills and behaviors also have levels starting from observation up to performance and practice (Norcini and McKinley, 2007). Moreover, there are different competencies within each domain that further complicates our task as an assessor to appropriately assess a student (Boulet and Raymond, 2018). For instance, within the cognitive domain, it is not just making the learning objectives based on Bloom’s Taxonomy that would simplify our task because the literature suggests that individuals have different thinking mechanisms, such as fast and slow thinking to perform a task (Kahneman, 2011). We as educationalists do not know what sort of cognitive mechanism have we triggered through our exam items (Swanson and Case, 1998). Multiple Choice Questions is one of the assessment instruments to measure competencies related to the cognitive domain. This means that we cannot use multiple-choice questions to measure the skills and behaviors domains, so clearly multiple-choice questions cannot assess all domains of learning (Vleuten et al, 2010). Within the cognitive domain, there are multiple levels and different ways of thinking mechanisms (Kahneman, 2011). Each assessment instrument has its strength and limitations. Multiple-choice questions may be able to assess a few of the competencies, also with some added benefits in terms of marking but there always are limitations. The multiple-choice question is no different when it comes to the strengths and limitations profile of an assessment instrument (Swanson and Case, 1998). There are certain competencies that can be easily assessed using multiple-choice questions (Swanson and Case, 1998). For example, content that requires recall, application, and analysis can be assessed with the help of multiple-choice questions. However, creativity or synthesis which is cognition level six (C6) as per Blooms’ Taxonomy, cannot be assessed with closed-ended questions such as a multiple-choice question. This means that we need some additional assessment instruments to measure the higher levels of cognition within the cognitive domain. For example, asking students to explore an open-ended question as a research project can assess the higher levels of cognition because the students would be gathering information from different sources of literature, and then synthesizing it to answer the question. It is reported that marking and reading the essay questions would be time-consuming for the teachers (McLean and Gale, 2018). Hence, the teacher to student’s ratio in assessing the higher levels of cognition needs to be monitored so that teachers or assessors can give appropriate time to assess the higher levels of cognition of their students. Hence, we have to use other forms of assessment instruments along with multiple-choice questions to assess the cognitive domain. This will help to assess the different levels of cognition and will also incite the different thinking mechanisms. Regarding the concerns, whether the tests given reflect what students will need to know as competent professionals? What evidence can be collected to make sure that test content is relevant? It is one of an important issue for medical education and assessment directors whether the tests that they are taking are reflective of the students being competent practitioners? It is also quite challenging as some of the competencies such as professionalism or professional identity formation are difficult to be measured quantitatively with the traditional assessment instruments (Cruess, Cruess, & Steinert, 2016). Moreover, there is also a question if all the competencies that are required for a medical graduate can be assessed with the assessment instruments presently available? Hence, we as educationalists have to provide evidence for the assessment of required competencies and relevant content. One of the ways that we can opt is to carefully align the required content with their relevant assessment instruments. This can be done with the help of assessment blueprints, or also known as the table of specifications in some of the literature (Norcini and McKinley, 2013). An assessment blueprint enables us to demonstrate our planned curriculum, that is, what are our planned objectives, and how are we going to teach and assess them (Boulet and Raymond, 2018). We can also use the validity construct in addition to the assessment blueprints to provide evidence for testing the relevant content. Validity means that the test is able to measure what it is supposed to measure (Boulet and Raymond, 2018). There are different types of validity but one of the validity that is required in this situation to establish the appropriateness of the content is the Content Validity. Content validity is established by a number of subject experts who comment on the appropriateness and relevance of the content (Lawshe, 1975). The third method by which the relevance of content can be established is through standard-setting. A standard is a single cut-off score to qualitatively declare a student competent or incompetent based on the judgment of subject experts (Norcini and McKinley, 2013). There are different ways of standard-setting for example Angoff, Ebel, Borderline method, etc. (Norcini and McKinley, 2013). Although the main purpose is the establishment and decides the cut-off score during the process, the experts also debate on the appropriateness and relevance of the content. This means that the standard-setting methods also have validity procedures that are in-built in their process of establishing the cut-off score. These are some of the methods by which we can provide evidence of the relevance of the content that is required to produce a competent practitioner. The next issue is the perception amongst students that some examiners are harsher than others and some tasks are easier than others. Both these observations have quite a lot of truth in them and can be evaluated following the contemporary medical education evaluation techniques. The first issue reported is that some examiners are harsher than others. In terms of assessment, it has been reported in the literature as ‘hawk dove effect’ (McManus et al, 2006, Murphy et al, 2009). There are different reasons identified in the literature for some of the examiners to be more stringent than others such as age, ethnic background, behavioral reasons, educational background, and experience in a number of years (McManus et al, 2006). Specifically, those examiners who are from ethnic minorities and have more experience show more stringency (McManus et al, 2006). Interestingly, it has been reported elsewhere how the glucose levels affect the decision making of the pass-fail judgments (Kahneman, 2011). There are psychometric methods reported in the literature, such as Rasch modeling that can help determine the ‘hawk dove effect’ of different examiners, and whether it is too extreme or within a zone of normal deviation (McManus et al, 2006, Murphy, et al, 2009). Moreover, the literature also suggests ways to minimize the hawk-dove effect by identifying and paring such examiners so the strictness of one can be compensated by the leniency of the other examiner (McManus et al, 2006). The other issue in this situation is that the students find some tasks easier than others. This is dependent on the complexity of tasks and also on the competence level of students. For example, a medical student may achieve independent measuring of blood pressure in his/her first year but even a consultant surgeon may not be able to perform complex surgery such as a Whipple procedure. This means that while developing tasks we as educationalists have to consider both the competence level of our students and the complexity of the tasks. One way to theoretically understand it is by taking help from the cognitive load theory (Merrienboer 2013). The cognitive load theory suggests that there are three types of cognitive loads; namely, the Intrinsic, Extraneous, and Germane loads (Merrienboer 2013). The intrinsic load is associated with the complexity of the task. The extraneous load is added to the working memory of students due to a teacher who does not plan his/her teaching session as per students' needs (Merrienboer 2013). The third load is the germane or the good load that helps the student to understand the task and is added by using teaching methods that helps students understand the task (Merrienboer 2013). The teachers can use different instructional designs such as the 4CID model to plan their teaching session of the complex tasks (Merrienboer 2013). One of the ways to understand the difficulty of the task can be to pilot test the task with few students or junior colleagues. Another way to determine the complexity of the task can be through standard-setting methods where a cut-off score is established after the experts discuss each task and determine its cut-off score based on their judgments (Norcini and McKinley, 2013). However, it is important that the experts who have been called for setting standards have relevant experience so as to make credible judgments (Norcini and McKinley, 2013). A third way to evaluate the complexity of tasks is by applying the post-exam item analysis techniques. The difficulty of the task is evaluated after the performance of students in the exam. Each item’s difficulty in the exam can be measured. The items can be placed from extremely easy (100% students correctly answered the item) to extremely difficult (100% students failed on that specific item). The item analysis enables the teachers to determine which tasks were easier in exams as compared to more difficult tasks. Another concern that comes from students is about their observation when interacting with patients. Health professions training programs require the interaction of students with patients. The student-patient interaction is not very often in initial years of student’s training due to the issues of patient safety, and due to the heavy workload on clinical faculty. However, with the passage of time in the training program, these student patient interactions increase. There is also a strong theoretical basis for better learning when the students are put in a context or a given situation (Wenger, 1998). For example, infection control can be taught through a lecture however the learning can be more effective if the students practically learn it in an operation theatre. Moreover, the undergraduate students or foundation year house job doctors are yet not competent enough to practice independently and require supervision for the obvious reasons of patient safety. Although, some of the students may not like being observed it is one of the requirements for their training. The examiners observing them can give them constructive feedback to further improve their performance (Etheridge and Boursicot, 2013). Feedback is one of the essential components of workplace-based assessments, and it is suggested in the literature that the time for feedback to the student should be almost equal to one-third of the procedure or task time (Etheridge and Boursicot, 2013), that is, for a fifteen minutes tasks, there should be at least five minutes for the feedback hence having a total of twenty minutes time on the whole. Further, it is important for the examiners and senior colleagues to establish trust in the competence of their students or trainees. The ‘trust’ is one of the behavioral constructs that also starts initially with an observation (Etheridge and Boursicot, 2013). Hence, observation of students or house officers by senior colleagues or teachers during clinical encounters is important to establish trust in student’s competence levels. Additionally, in the workplace, there are different skills that are required by the students to demonstrate, and each skill is quite different to others. There are different workplace-based assessment instruments and each of them assesses only certain aspects of student’s performance during clinical practice. For instance, the Mini Clinical Evaluation Exercise (Mini-CEX) can primarily assess the history taking and physical examination skills of students (Etheridge and Boursicot, 2013). Similarly, the Directly Observed Procedural Skills (DOPS) is required to assess the technical and procedural skills of students (Etheridge and Boursicot, 2013). More so, the Case-based Discussion (CBD) is required to assess clinical reasoning skills, decision-making skills, ethics, and professionalism (Etheridge and Boursicot, 2013). Further, multi-source feedback (MSF) or 360-degree assessment collects feedback about a student on their performance from multiple sources such as patients, senior and junior colleagues, nursing staff, and administrative staff (Etheridge and Boursicot, 2013). All these workplace-based assessments require observation of students so they can be given appropriate feedback on their technical and nontechnical skills (Etheridge and Boursicot, 2013). Hence, clinical encounters at the workplace are quite complex and require training of students from different aspects to fully train them that cannot be accomplished without observation. Some students also worry whether the pass marks for the assessments are ‘correct’, and what is the evidence for the cut-off score in their exams? A standard is a single cut-off score that determines the competence of a student in a particular exam (Norcini and McKinley, 2013). The cut-off score is decided by experts who make a qualitative judgment (Norcini and McKinley, 2013). The purpose is not to establish an absolute truth but to demonstrate the creditability of pass-fail decisions in an exam (Norcini and McKinley, 2013). There are certain variables related to standard setters that may affect the creditability of the standard-setting process; such as age, gender, ethnicity, their understanding of the learners, their educational qualification, and their place of work. Moreover, the definition of competence varies with time, place and person (Norcini and McKinley, 2013). Hence, it is important that the standard setters must know the learners and the competence level expected from them and the standard setters must be called from different places. This is one of the first requirements to have the profile of the standard setters to establish their credibility. Moreover, the selection of the method of standard setting is important, and how familiar are the standard setters with the method of standard-setting. There are many standard-setting methods for different assessment instruments and types of exams (Norcini and McKinley, 2013). It is essential to use the appropriate standard-setting method, and also to train the standard setters on that method of standard setting so they know the procedure. The training can be done by providing them certain data to solve it following the steps of the standard-setting procedure. The record of these exercises is important and can be required at later stages to show the experience of the standard setters. Further, every standard-setter writes a cut-off score for each item (Norcini and McKinley, 2013). The mean score of all the standard setters is calculated to determine the cut-off score for each item (Norcini and McKinley, 2013). The total cut-off score is calculated by adding the pass marks of each individual item (Norcini and McKinley, 2013). The cut-off scores for items would also help in differentiating the hawks from doves, that is, those examiners who are quite strict from those who are lenient (McManus et al, 2006). Hence, it is important to keep the record of these cut-off scores of each item for future records and to have a balanced standard-setting team for future exams (Norcini and McKinley, 2013). Additionally, the meeting minutes is an important document to keep the record for the decisions made during the meeting. Lastly, the exam results and post-exam item analysis is an important document to see the performance of students on each item and to make comparisons with the standard-setting meeting (Norcini and McKinley, 2013). It would be important to document the items that behaved as predicted by the standard setters and those items that would show unexpected responses; for example, the majority of the borderline students either secured quite high marks than the cut-off score or vice versa (Norcini and McKinley, 2013). All the documents mentioned above would ensure the creditability of the standard-setting process and would also improve the quality of exam items. There are many other aspects that could not be discussed in this debate on the contemporary assessment system in medical education. Another area that needs deliberations is the futuristic assessment system and how it would address the limitations of the current system? Disclaimer: This work is derived from one of the assignments of the author submitted for his certificate from Keele University. -------------------------------------------------------------------------- References Boulet, J. and Raymond, M. (2018) ‘Blueprinting: Planning your tests. FAIMER-Keele Master’s in Health Professions Education: Accreditation and Assessment. Module 1, Unit 2.’, FAIMER Centre for Distance Learning, CenMEDIC. 6th edn. London, pp. 7–90. Cruess, R. L., Cruess, S. R., & Steinert, Y. (2016). ‘Amending Miller’s pyramid to include professional identity formation’. Acad Med, 91(2), pp. 180–185. Etheridge, L. and Boursicot, K. (2013) ‘Performance and workplace assessment’, in Dent, J. A. and Harden, R. M. (eds) A practical guide for medical teachers. 4th edn. London: Elsevier Limited. Kahneman, D. (2011) Thinking, fast and slow. New York: Farrar, Straus and Giroux. Lawshe, CH. (1975) A quantitative approach to content validity. Pers Psychol, 28(4), pp. 563–75. McLean, M. and Gale, R. (2018) Essays and short answer questions. FAIMER-Keele Master’s in Health Professions Education: Accreditation and Assessment. Module 1, Unit 5, 5th edition. FAIMER Centre for Distance Learning, CenMEDIC, London. McManus, IC. Thompson, M. and Mollon, J. (2006) ‘ Assessment of examiner leniency and stringency (‘hawk-dove effect’) in the MRCP(UK) clinical examination (PACES) using multi-facet Rasch modelling’ BMC Med Educ. 42(6) doi:10.1186/1472- 6920-6-42 Merrienboer, J.J.G. (2013) ‘Instructional Design’, in Dent, J. A. and Harden, R. M. (eds) A practical guide for medical teachers. 4th edn. London: Elsevier Limited. Murphy, JM. Seneviratne, R. Remers, O and Davis, M. (2009) ‘Hawks’ and ‘doves’: effect of feedback on grades awarded by supervisors of student selected components, Med Teach, 31(10), e484-e488, DOI: 10.3109/01421590903258670 Norcini, J. and McKinley, D. W. (2007) ‘Assessment methods in medical education’, Teaching and Teacher Education, 23(3), pp. 239–250. doi: 10.1016/j.tate.2006.12.021. Norcini, J. and Troncon, L. (2018) Foundations of assessment. FAIMER-Keele Master’s in Health Professions Education: Accreditation and Assessment. Module 1, Unit 1. 6th edn. London: FAIMER Centre for Distance Learning CenMEDIC. Norcini, J. and McKinley, D. W. (2013) ‘Standard Setting’, in Dent, J. A. and Harden, R. M. (eds) A practical guide for medical teachers. 4th edn. London: Elsevier Limited. Swanson, D. and Case, S. (1998) Constructing written test questions for the basic and clincial sciences. 3rd Ed. National Board of Medical Examiners. 3750 Market Street Philadelphia, PA 19104. Van Der Vleuten, C. Schuwirth, L. Scheele, F. Driessen, E. and Hodges, B. (2010) ‘The assessment of professional competence: building blocks for theory development’, Best Practice & Research Clinical Obstetrics and Gynecology, pp. 1-17. doi:10.1016/j. bpobgyn.2010.04.001 Wenger, E. (1998). Communities of practice: Learning, meaning, and identity. Cambridge university press.

Dyslexia is a neuro-developmental disorder characterized by difficulties in learning to read despite conventional instruction, adequate intelligence and a balanced sociocultural background. Dyslexia is the most common type of learning disorder. Reading difficulties affect a child’s academic achievement. As primary eye care practitioners, optometrists have a role in attending to patients who may present with symptoms indicative of dyslexia, therefore an understanding of dyslexia will be beneficial to the optometrist. This paper presents an overview of dyslexia and discusses its prevalence, aetiology, classifications, neural pathways involved in reading, theories, neuro-imaging techniques and management options. The role of optometry in the multidisciplinary management of dyslexia is discussed. (S Afr Optom 2011 70(2) 89-98)

Salzmann, Mary Elizabeth. Wear a Helmet! Healthy Safety Habits. Minneapolis, MN: Abdo Publishing, 2015, Print.This small picture book is levelled to the third or “transitional” reading level defined in the Sandcastle series. This series is designed for use in “shared, guided and independent reading and writing activities to support a balanced approach to literacy instruction”. The subject of the book is health and safety. Each photograph shows a child doing something that promotes safety: wearing a bike helmet, a life preserver or a seatbelt. Other children are shown washing hands, using a pot holder and seated at a computer to illustrate online safety. The children featured are in the 7-9 age range and are named to allow readers to relate to them more easily. Younger children will look up to older children pictured doing the right things. The text is short and very simple, designed for children who are not yet fluent readers. However, for average readers, who might pick up this book in a library, the text would be most appropriate for the lower end of the recommended age 4-9 audience. There is a brief quiz at the end of the book, aimed at a low comprehension level. Strangely, some of the definitions in the glossary contain words that are well above the reading level of the book. For example, the definition of the word “germ” includes the word “organism”. While this book is designed for reading enhancement programs, it does model useful health and safety ideas, so would be a good addition for school and public libraries.Recommendation: 3 stars out of 4Reviewer: Sean BorleSean Borle is a University of Alberta undergraduate student who is an advocate for child health and safety.

Purpose: This study explores the effectiveness of a A Balanced Reading Approach for Children Always Designed to Achieve Best Results for All (ABRACADABRA; hereinafter, ABRA) —a web-based literacy program designed by Concordia University in Canada —on third-grade students in Nanjing, China. Design/Approach/Methods: Participants comprised 999 students from three treatment schools (N = 711) and three control schools (N = 288). Three different approaches were used in the treatment schools: namely, a computer laboratory once a week, noontime study after lunch, and single-game instruction (SG) during every English lesson. Interviews were also conducted with teachers, producing qualitative data. Findings: Following 20 weeks of intervention, the overall effect size was +0.05. The SG group reflected the smallest effect size (d = -0.52). The noontime study group produced an effect size of 0.39, and the laboratory group an effect size of 0.55. This study conducted interviews with teachers to gain a qualitative understanding of the differential impacts. In doing so, this study found that teachers in the SG group were poorly motivated due to a lack of school support and heavy workload, resulting in passive roles and low ABRA program intensity. Originality/Value: The results of this study indicate that ABRA is an effective means of improving Chinese students’ English literacy skills. Results also underscore the need for critical measures to encourage teachers to actively participate in the program.

As our courses implement more online learning tools, we are facing both the opportunities and the challenges that such tools present. On the one hand, students can watch and re-watch streamable and downloadable lectures, in their own time and at their own pace, to get more benefit out of course material than they might in a single, in-person exposure. Moreover, by providing not only captured scheduled lectures, but also additional custom created lectures, we are able to expand our teaching opportunities in order to go into greater detail on topics relevant to students with particular interests or needs. At the same time as we have been moving toward online teaching tools, we have been developing more creative personal teaching methods. In our first year course, we introduced seminars, unusual for engineering education at the undergraduate level. The seminars get students used to learning through independent reading and small group discussion, facilitated by an expert. In a second year design course, instead of attending tutorials of 30 students, teams meet for half an hour a week with a Project Manager who is also their Communication Instructor. These deeply personal meetings both monitor the progress of their design and allow for individualized instruction on design documents. The question we are exploring here is whether we can use Marshall McLuhan’s concept of extending into technology to understand how in-person, interactive teaching modes balance the effects of on-line and remote methods. The idea of the in-person, physical dimension of learning is reflected in the title of this paper, which quotes The History of the World by J.M. Roberts. He suggests that what generated "civilization" out of roughly organized communities, was a combination of a critical mass – a certain, unstated number of settled humans –and movement, the addition of different humans from different places. It was both physical presence and interaction that created the basis for the kinds of astounding developments that led to writing, art, complex government and justice systems. Once certain numbers were achieved, civilization was enabled "by throwing together peoples of different tradition. In collision and cooperation they learnt from one another and so increased the potential of their society." (62) We have been intuitively moving forward on these two fronts: implementing new technological teaching tools, and developing innovative ways to balance these impersonal methods by “throwing together” students from all over the world and instructors at every level, from Teaching Assistants to Professors. We are now seeking a clearer understanding of how these forces balance, enable and/or augment one another

Ralph L. Baldwin (1872–1943) was a prominent music educator who, in addition to his role as a teacher, was an author, composer, and leader of various professional music organizations. Baldwin later became known through his many publications and as the administrator of the Sterrie Weaver Summer School after Weaver’s untimely death. This narrative study was intended to describe the teaching philosophy developed by Baldwin. In addition, the visibility and recognition brought to Baldwin through his books in the “Music Education Series,” published by Ginn and Company, were detailed. Baldwin advocated teaching sight reading or the “language” of music to balance out the rote singing methods being used. He blended the rote and note philosophies much like his predecessor Sterrie Weaver. While Baldwin’s methods and publications are not necessarily used in American classrooms today, it is important to recognize the quality ideas and resources that he offered to music educators of that time. Baldwin’s publications are a good example of an effective instructional method, including materials, that directly preceded the adoption of current methods and approaches to music education.

In a replication and extension of an earlier study, we relied on person-centered analyses to identify teacher (Level 1) and school (Level 2) profiles based on teachers' experiences of job demands (barriers to professional development, disruptive student behavior), job resources (teacher collaboration, input in decision-making), and personal resources (self-efficacy). We examined data from 5,439 teachers working in 364 schools in Australia and 2,216 teachers working in 149 schools in England. Latent profile analysis revealed six teacher profiles: Low-Demand-Flourisher (11%), Mixed-Demand-Flourisher (17%), Job-Resourced-Average (11%), Balanced-Average (14%), Mixed-Resourced-Struggler (11%), and Low-Resourced-Struggler (36%). Two school profiles were identified: an Unsupportive school profile (43%) and a Supportive school profile (57%). Several significant relations between these profiles and teacher/school characteristics and work-related outcomes were also identified at both levels. Although our results generally replicated prior findings, some differences were also observed, possibly as a results of recent changes in policies regarding in teacher support and accountability. Next, we extended prior work using a subsample of the Australian teachers for whom we had matching student data. This second set of results revealed that schools with a greater proportion of low-SES students were more likely to present an Unsupportive school profile. Moreover, the Supportive school profile was associated with higher levels of student-reported instructional support and school-average achievement in reading, mathematics, and science.

The manuscripts of Qur'an that are scattered around us are divided into 2 types i.e. Indonesian standard manuscripts and the Middle East or Madinah standard, the development of these two manuscripts is not balanced with the refining of teaching materials or the Qur'anic learning method, 90% of the methods refer to Indonesian standard manuscripts and the rest refer to Mushaf Madinah. This challenge was answered by the Griya Al-Qur’an to provide a method that refers to the Mushaf Madinah which has been running for 7 years and has printed 14,000 books that should have been revised as soon as the input from the user (asatizah). The three problems became the study of this thesis. First, how to describe the learning of the Qur'an? Second, how to develop teaching material? And third what is the effectiveness of teaching materials?. This study used an R & D approach or in practice mixed between qualitative and quantitative, qualitative to measure the depth of the material as well as quantitatively to measure validity and effectiveness of teaching materials. The results of the study were as follows: First, the Qur'an Learning should pay attention to 7 components of learning namely goals, material, students, teachers, methods, tools and assessment systems. Second, to develope this teaching material, the ADDIE stage was analyzed, the results of which were revised focus on adding volume 1 and changing the paper size, designed by making a re-design of the material based on the analysis results and preparing the Mushaf Madinah printing software with the Usmani hafs V09 font, Development by implementing what has been designed and invited material experts and instructional media experts to test validity with the results of the experts' values of 80% and 76%, respectively, which meant valid. The third was to measure effectiveness through the implementation stage by conducting a trial with the pretest result of 33% and posttest of 79% which meant that this teaching material was effective and ended with evaluation by evaluating each stage of development. Keywords: Teaching materias Development , Griya Al-Qur’an, Qur'an Learning

"verbiage very thinly sliced and plated up real nice" (Barrett 1)IntroductionMany of us share in an obsessive collecting of cookbooks and recipes. Torn or cut from newspapers and magazines, recipes sit swelling scrapbooks with bloated, unfilled desire. They’re non-hybrid seeds, peas under the mattress, an endless cycle of reproduction. Desire and narrative are folded into each other in our drive, as humans, to create meaning. But what holds us to narrative is good writing. And what can also drive desire is image—literal as well as metaphorical—the visceral pleasure of the gaze, or looking and viewing the sensually aesthetic and the work of the imagination. Creative WritingCooking, winemaking, and food and wine writing can all be considered art. For example, James Halliday (31), the eminent Australian wine critic, posed the question “Is winemaking an art?,” answering: “Most would say so” (31). Cookbooks are stories within stories, narratives that are both factual and imagined, everyday and fantastic—created by both writer and reader from where, along with its historical, cultural and publishing context, a text gets its meaning. Creative writing, in broad terms of genre, is either fiction (imagined, made-up) or creative nonfiction (true, factual). Genre comes from the human taxonomic impulse to create order from chaos through cataloguing and classification. In what might seem overwhelming infinite variety, we establish categories and within them formulas and conventions. But genres are not necessarily stable or clear-cut, and variation in a genre can contribute to its de/trans/formation (Curti 33). Creative nonfiction includes life writing (auto/biography) and food writing among other subgenres (although these subgenres can also be part of fiction). Cookbooks sit within the creative nonfiction genre. More clearly, dietary or nutrition manuals are nonfiction, technical rather than creative. Recipe writing specifically is perhaps less an art and more a technical exercise; generally it’s nonfiction, or between that and creative nonfiction. (One guide to writing recipes is Ostmann and Baker.) Creative writing is built upon approximately five, more or less, fundamentals of practice: point of view or focalisation or who narrates, structure (plot or story, and theme), characterisation, heightened or descriptive language, setting, and dialogue (not in any order of importance). (There are many handbooks on creative writing, that will take a writer through these fundamentals.) Style or voice derives from what a writer writes about (their recurring themes), and how they write about it (their vocabulary choice, particular use of imagery, rhythm, syntax etc.). Traditionally, as a reader, and writer, you are either a plot person or character person, but you can also be interested primarily in ideas or language, and in the popular or literary.Cookbooks as Creative NonfictionCookbooks often have a sense of their author’s persona or subjectivity as a character—that is, their proclivities, lives and thus ideology, and historical, social and cultural place and time. Memoir, a slice of the author–chef/cook’s autobiography, is often explicitly part of the cookbook, or implicit in the nature of the recipes, and the para-textual material which includes the book’s presentation and publishing context, and the writer’s biographical note and acknowledgements. And in relation to the latter, here's Australian wine educator Colin Corney telling us, in his biographical note, about his nascent passion for wine: “I returned home […] stony broke. So the next day I took a job as a bottleshop assistant at Moore Park Cellars […] to tide me over—I stayed three years!” (xi). In this context, character and place, in the broadest sense, are inevitably evoked. So in conjunction with this para-textual material, recipe ingredients and instructions, visual images and the book’s production values combine to become the components for authoring a fictive narrative of self, space and time—fictive, because writing inevitably, in a broad or conceptual sense, fictionalises everything, since it can only re-present through language and only from a particular point of view.The CookbooksTo talk about the art of cookbooks, I make a judgmental (from a creative-writer's point of view) case study of four cookbooks: Lyndey Milan and Colin Corney’s Balance: Matching Food and Wine, Sean Moran’s Let It Simmer (this is the first edition; the second is titled Let It Simmer: From Bush to Beach and Onto Your Plate), Kate Lamont’s Wine and Food, and Greg Duncan Powell’s Rump and a Rough Red (this is the second edition; the first was The Pig, the Olive & the Squid: Food & Wine from Humble Beginnings) I discuss reading, writing, imaging, and designing, which, together, form the nexus for interpreting these cookbooks in particular. The choice of these books was only relatively random, influenced by my desire to see how Australia, a major wine-producing country, was faring with discussion of wine and food choices; by the presence of discursive text beyond technical presentation of recipes, and of photographs and purposefully artful design; and by familiarity with names, restaurants and/or publishers. Reading Moran's cookbook is a model of good writing in its use of selective and specific detail directed towards a particular theme. The theme is further created or reinforced in the mix of narrative, language use, images and design. His writing has authenticity: a sense of an original, distinct voice.Moran’s aphoristic title could imply many things, but, in reading the cookbook, you realise it resonates with a mindfulness that ripples throughout his writing. The aphorism, with its laidback casualness (legendary Australian), is affectively in sync with the chef’s approach. Jacques Derrida said of the aphorism that it produces “an echo of really curious, indelible power” (67).Moran’s aim for his recipes is that they be about “honest, home-style cooking” and bringing “out a little bit of the professional chef in the home cook”, and they are “guidelines” available for “sparkle” and seduction from interpretation (4). The book lives out this persona and personal proclivities. Moran’s storytellings are specifically and solely highlighted in the Contents section which structures the book via broad categories (for example, "Grains" featuring "The dance of the paella" and "Heaven" featuring "A trifle coming on" for example). In comparison, Powell uses "The Lemon", for example, as well as "The Sheep". The first level of Contents in Lamont’s book is done by broad wine styles: sparkling, light white, robust white and so on, and the second level is the recipe list in each of these sections. Lamont’s "For me, matching food and wine comes down to flavour" (xiii) is not as dramatic or expressive as Powell’s "Wine: the forgotten condiment." Although food is first in Milan and Corney’s book’s subtitle, their first content is wine, then matching food with colour and specific grape, from Sauvignon Blanc to Barbera and more. Powell claims that the third of his rules (the idea of rules is playful but not comedic) for choosing the best wine per se is to combine region with grape variety. He covers a more detailed and diversified range of grape varieties than Lamont, systematically discussing them first-up. Where Lamont names wine styles, Powell points out where wine styles are best represented in Australian states and regions in a longish list (titled “13 of the best Australian grape and region combos”). Lamont only occasionally does this. Powell discusses the minor alternative white, Arneis, and major alternative reds such as Barbera and Nebbiolo (Allen 81, 85). This engaging detail engenders a committed reader. Pinot Gris, Viognier, Sangiovese, and Tempranillo are as alternative as Lamont gets. In contrast to Moran's laidbackness, Lamont emphasises professionalism: "My greatest pleasure as a chef is knowing that guests have enjoyed the entire food and wine experience […] That means I have done my job" (xiii). Her reminders of the obvious are, nevertheless, noteworthy: "Thankfully we have moved on from white wine/white meat and red wine/red meat" (xiv). She then addresses the alterations in flavour caused by "method of cooking" and "combination of ingredients", with examples. One such is poached chicken and mango crying "out for a vibrant, zesty Riesling" (xiii): but where from, I ask? Roast chicken with herbs and garlic would favour "red wine with silky tannin" and "chocolatey flavours" (xiii): again, I ask, where from? Powell claims "a different evolution" for his book "to the average cookbook" (7). In recipes that have "a wine focus", there are no "pretty […] little salads, or lavish […] cakes" but "brown" albeit tasty food that will not require ingredients from "poncy inner-city providores", be easy to cook, and go with a cheap, budget-based wine (7). While this identity-setting is empathetic for a Powell clone, and I am envious of his skill with verbiage, he doesn’t deliver dreaming or desire. Milan and Corney do their best job in an eye-catching, informative exemplar list of food and wine matches: "Red duck curry and Barossa Valley Shiraz" for example (7), and in wine "At-a-glance" tables, telling us, for example, that the best Australian regions for Chardonnay are Margaret River and the Adelaide Hills (53). WritingThe "Introduction" to Moran’s cookbook is a slice of memoir, a portrait of a chef as a young man: the coming into being of passion, skill, and professionalism. And the introduction to the introduction is most memorable, being a loving description of his frugal Australian childhood dinners: creations of his mother’s use of manufactured, canned, and bottled substitutes-for-the-real, including Gravox and Dessert Whip (1). From his travel-based international culinary education in handmade, agrarian food, he describes "a head of buffalo mozzarella stuffed with ricotta and studded with white truffles" as "sheer beauty", "ambrosial flavour" and "edible white 'terrazzo'." The consonants b, s, t, d, and r are picked up and repeated, as are the vowels e, a, and o. Notice, too, the comparison of classic Italian food to an equally classic Italian artefact. Later, in an interactive text, questions are posed: "Who could now imagine life without this peppery salad green?" (23). Moran uses the expected action verbs of peel, mince, toss, etc.: "A bucket of tiny clams needs a good tumble under the running tap" (92). But he also uses the unexpected hug, nab, snuggle, waltz, "wave of garlic" and "raining rice." Milan and Corney display a metaphoric-language play too: the bubbles of a sparkling wine matching red meat become "the little red broom […] sweep[ing] away the […] cloying richness" (114). In contrast, Lamont’s cookbook can seem flat, lacking distinctiveness. But with a title like Wine and Food, perhaps you are not expecting much more than information, plain directness. Moran delivers recipes as reproducible with ease and care. An image of a restaurant blackboard menu with the word "chook" forestalls intimidation. Good quality, basic ingredients and knowledge of their source and season carry weight. The message is that food and drink are due respect, and that cooking is neither a stressful, grandiose nor competitive activity. While both Moran and Lamont have recipes for Duck Liver Pâté—with the exception that Lamont’s is (disturbingly, for this cook) "Parfait", Moran also has Lentil Patties, a granola, and a number of breads. Lamont has Brioche (but, granted, without the yeast, seeming much easier to make). Powell’s Plateless Pork is "mud pies for grown-ups", and you are asked to cook a "vat" of sauce. This communal meal is "a great way to spread communicable diseases", but "fun." But his passionately delivered historical information mixed with the laconic attitude of a larrikin (legendary Australian again) transform him into a sage, a step up from the monastery (Powell is photographed in dress-up friar’s habit). Again, the obvious is noteworthy in Milan and Corney’s statement that Rosé "possesses qualities of both red and white wines" (116). "On a hot summery afternoon, sitting in the sun overlooking the view … what could be better?" (116). The interactive questioning also feeds in useful information: "there is a huge range of styles" for Rosé so "[g]rape variety is usually a good guide", and "increasingly we are seeing […] even […] Chambourcin" (116). Rosé is set next to a Bouillabaisse recipe, and, empathetically, Milan and Corney acknowledge that the traditional fish soup "can be intimidating" (116). Succinctly incorporated into the recipes are simple greyscale graphs of grape "Flavour Profiles" delineating the strength on the front and back palate and tongue (103).Imaging and DesigningThe cover of Moran’s cookbook in its first edition reproduces the colours of 1930–1940's beach towels, umbrellas or sunshades in matt stripes of blue, yellow, red, and green (Australian beaches traditionally have a grass verge; and, I am told (Costello), these were the colours of his restaurant Panoroma’s original upholstery). A second edition has the same back cover but a generic front cover shifting from the location of his restaurant to the food in a new subtitle: "From Bush to Beach and onto Your Plate". The front endpapers are Sydney’s iconic Bondi Beach where Panoroma restaurant is embedded on the lower wall of an old building of flats, ubiquitous in Bondi, like a halved avocado, or a small shallow elliptic cave in one of the sandstone cliff-faces. The cookbook’s back endpapers are his bush-shack country. Surfaces, cooking equipment, table linen, crockery, cutlery and glassware are not ostentatious, but simple and subdued, in the colours and textures of nature/culture: ivory, bone, ecru, and cream; and linen, wire, wood, and cardboard. The mundane, such as a colander, is highlighted: humbleness elevated, hands at work, cooking as an embodied activity. Moran is photographed throughout engaged in cooking, quietly fetching in his slim, clean-cut, short-haired, altar-boyish good-looks, dressed casually in plain bone apron, t-shirt (most often plain white), and jeans. While some recipes are traditionally constructed, with the headnote, the list of ingredients and the discursive instructions for cooking, on occasion this is done by a double-page spread of continuous prose, inviting you into the story-telling. The typeface of Simmer varies to include a hand-written lookalike. The book also has a varied layout. Notes and small images sit on selected pages, as often as not at an asymmetric angle, with faux tape, as if stuck there as an afterthought—but an excited and enthusiastic afterthought—and to signal that what is informally known is as valuable as professional knowledge/skill and the tried, tested, and formally presented.Lamont’s publishers have laid out recipe instructions on the right-hand side (traditional English-language Western reading is top down, left to right). But when the recipe requires more than one item to be cooked, there is no repeated title; the spacing and line-up are not necessarily clear; and some immediate, albeit temporary, confusion occurs. Her recipes, alongside images of classic fine dining, carry the implication of chefing rather than cooking. She is photographed as a professional, with a chef’s familiar striped apron, and if she is not wearing a chef’s jacket, tunic or shirt, her staff are. The food is beautiful to look at and imagine, but tackling it in the home kitchen becomes a secondary thought. The left-hand section divider pages are meant to signal the wines, with the appropriate colour, and repetitive pattern of circles; but I understood this belatedly, mistaking them for retro wallpaper bemusedly. On the other hand, Powell’s bog-in-don’t-wait everyday heartiness of a communal stewed dinner at a medieval inn (Peasy Lamb looks exactly like this) may be overcooked, and, without sensuousness, uninviting. Images in Lamont’s book tend toward the predictable and anonymous (broad sweep of grape-vined landscape; large groups of people with eating and drinking utensils). The Lamont family run a vineyard, and up-market restaurants, one photographed on Perth’s river dockside. But Sean's Panoroma has a specificity about it; it hasn’t lost its local flavour in the mix with the global. (Admittedly, Moran’s bush "shack", the origin of much Panoroma produce and the destination of Panoroma compost, looks architect-designed.) Powell’s book, given "rump" and "rough" in the title, stridently plays down glitz (large type size, minimum spacing, rustic surface imagery, full-page portraits of a chicken, rump, and cabbage etc). While not over-glam, the photography in Balance may at first appear unsubtle. Images fill whole pages. But their beautifully coloured and intriguing shapes—the yellow lime of a white-wine bottle base or a sparkling wine cork beneath its cage—shift them into hyperreality. White wine in a glass becomes the edge of a desert lake; an open fig, the jaws of an alien; the flesh of a lemon after squeezing, a sea anemone. The minimal number of images is a judicious choice. ConclusionReading can be immersive, but it can also hover critically at a meta level, especially if the writer foregrounds process. A conversation starts in this exchange, the reader imagining for themselves the worlds written about. Writers read as writers, to acquire a sense of what good writing is, who writing colleagues are, where writing is being published, and, comparably, to learn to judge their own writing. Writing is produced from a combination of passion and the discipline of everyday work. To be a writer in the world is to observe and remember/record, to be conscious of aiming to see the narrative potential in an array of experiences, events, and images, or, to put it another way, "to develop the habit of art" (Jolley 20). Photography makes significant whatever is photographed. The image is immobile in a literal sense but, because of its referential nature, evocative. Design, too, is about communication through aesthetics as a sensuous visual code for ideas or concepts. (There is a large amount of scholarship on the workings of image combined with text. Roland Barthes is a place to begin, particularly about photography. There are also textbooks dealing with visual literacy or culture, only one example being Shirato and Webb.) It is reasonable to think about why there is so much interest in food in this moment. Food has become folded into celebrity culture, but, naturally, obviously, food is about our security and survival, physically and emotionally. Given that our planet is under threat from global warming which is also driving climate change, and we are facing peak oil, and alternative forms of energy are still not taken seriously in a widespread manner, then food production is under threat. Food supply and production are also linked to the growing gap between poverty and wealth, and the movement of whole populations: food is about being at home. Creativity is associated with mastery of a discipline, openness to new experiences, and persistence and courage, among other things. We read, write, photograph, and design to argue and critique, to use the imagination, to shape and transform, to transmit ideas, to celebrate living and to live more fully.References Allen, Max. The Future Makers: Australian Wines for the 21st Century. Melbourne: Hardie Grant, 2010. Barratt, Virginia. “verbiage very thinly sliced and plated up real nice.” Assignment, ENG10022 Writing from the Edge. Lismore: Southern Cross U, 2009. [lower case in the title is the author's proclivity, and subsequently published in Carson and Dettori. Eds. Banquet: A Feast of New Writing and Arts by Queer Women]Costello, Patricia. Personal conversation. 31 May 2012. Curti, Lidia. Female Stories, Female Bodies: Narrative, Identity and Representation. UK: Macmillan, 1998.Derrida, Jacques. "Fifty-Two Aphorisms for a Foreword." Deconstruction: Omnibus Volume. Eds. Andreas Apadakis, Catherine Cook, and Andrew Benjamin. New York: Rizzoli, 1989.Halliday, James. “An Artist’s Spirit.” The Weekend Australian: The Weekend Australian Magazine 13-14 Feb. (2010): 31.Jolley, Elizabeth. Central Mischief. Ringwood: Viking/Penguin 1992. Lamont, Kate. Wine and Food. Perth: U of Western Australia P, 2009. Milan, Lyndey, and Corney, Colin. Balance: Matching Food and Wine: What Works and Why. South Melbourne: Lothian, 2005. Moran, Sean. Let It Simmer. Camberwell: Lantern/Penguin, 2006. Ostmann, Barbara Gibbs, and Jane L. Baker. The Recipe Writer's Handbook. Canada: John Wiley, 2001.Powell, Greg Duncan. Rump and a Rough Red. Millers Point: Murdoch, 2010. Shirato, Tony, and Jen Webb. Reading the Visual. Crows Nest: Allen & Unwin, 2004.

03—230 Andress, Reinhard (St. Louis U., USA), James, Charles J., Jurasek, Barbara, Lalande II, John F., Lovik, Thomas A., Lund, Deborah, Stoyak, Daniel P., Tatlock, Lynne and Wipf, Joseph A.. Maintaining the momentum from high school to college: Report and recommendations. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 1—14.03—231 Andrews, David R. (Georgetown U., USA.). Teaching the Russian heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 519—30.03—232 Ashby, Wendy and Ostertag, Veronica (U. of Arizona, USA). How well can a computer program teach German culture? Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 79—85.03—233 Bateman, Blair E. (937 17th Avenue, SE Minneapolis, MN 55414, USA; Email: bate0048@umn.edu). Promoting openness toward culture learning: Ethnographic interviews for students of Spanish. The Modern Language Journal (Malden, MA, USA), 86, 3 (2002), 318—31.03—234 Belz, Julie A. and Müller-Hartmann, Andreas. Deutsche-amerikanische Telekollaboration im Fremdsprachenuterricht – Lernende im Kreuzfeuer der institutionellen Zwänge. [German-American tele-collaboration in foreign language teaching – learners in the crossfire of institutional constraints.] Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 36, 1 (2002), 68—78.03—235 Bosher, Susan and Smalkoski, Kari (The Coll. of St. Catherine, St. Paul, USA; Email: sdbosher@stkate.edu). From needs analysis to curriculum development: Designing a course in health-care communication for immigrant students in the USA. English for Specific Purposes (Amsterdam, The Netherlands), 21, 1 (2002), 59—79.03—236 Brandl, Klaus (U. of Washington, USA; Email: brandl@u.washington.edu). Integrating Internet-based reading materials into the foreign language curriculum: From teacher- to student-centred approaches. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 87—107.03—237 Bruce, Nigel (Hong Kong U.; Email: njbruce@hku.hk). Dovetailing language and content: Teaching balanced argument in legal problem answer writing. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 321—45.03—238 Bruton, Anthony (U. of Seville, Spain; Email: abruton@siff.us.es). From tasking purposes to purposing tasks. ELT Journal (Oxford, UK), 56, 3 (2002), 280—95.03—239 Candlin, C. N. (Email: enopera@cityu.edu.hk), Bhatia, V. K. and Jensen, C. H. (City U. of Hong Kong). Developing legal writing materials for English second language learners: Problems and perspectives. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 299—320.03—240 Chen, Shumei. A contrastive study of complimentary responses in British English and Chinese, with pedagogic implications for ELT in China. Language Issues (Birmingham, UK), 13, 2 (2001), 8—11.03—241 Chudak, Sebastian (Adam-Mickiewicz-Universität, Poznán, Poland). Die Selbstevaluation im Prozess- und Lernerorientierten Fremdsprachenunterricht (Bedeutung, Ziele, Umsetzungsmöglichkeiten). [The self-evaluation of process- and learner-oriented foreign language teaching.] Glottodidactica (Poznań, Poland), 28 (2002), 49—63.03—242 Crosling, Glenda and Ward, Ian (Monash U., Clayton, Australia; Email: glenda.crosling@buseco.monash.edu.au). Oral communication: The workplace needs and uses of business graduate employees. English for Specific Purposes (Amsterdam, The Netherlands), 21, 1 (2002), 41—57.03—243 Davidheiser, James (U. of the South, USA). Classroom approaches to communication: Teaching German with TPRS (Total Physical Response Storytelling). Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 25—35.03—244 Duff, Patricia A. (U. of British Columbia, Canada; Email: patricia.duff@ubc.ca). The discursive co-construction of knowledge, identity, and difference: An ethnography of communication in the high school mainstream. Applied Linguistics (Oxford, UK), 23, 3 (2002), 289—322.03—245 Egbert, Joy (Washington State U., USA; Email: egbert@wsunix.wsu.edu), Paulus, Trena M. and Nakamichi, Yoko. The impact of CALL instruction on classroom computer use: A foundation for rethinking technology in teacher education. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 108—26.03—246 Einbeck, Kandace (U. of Colorado at Boulder, USA). Using literature to promote cultural fluency in study abroad programs. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 59—67.03—247 Fallon, Jean M. (Hollins U., Virginia, USA). On foreign ground: One attempt at attracting non-French majors to a French Studies course. Foreign Language Annals (New York, USA), 35, 4 (2002), 405—13.03—248 Furuhata, Hamako (Mount Union Coll., Ohio, USA; Email: furuhah@muc.edu). Learning Japanese in America: A survey of preferred teaching methods. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 134—42.03—249 Goldstein, Tara (Ontario Inst. for Studies in Ed., U. of Toronto, Canada). No Pain, No Gain: Student playwriting as critical ethnographic language research. The Canadian Modern Language Review/La Revue canadienne des langues vivantes (Toronto, Ont.), 59, 1 (2002), 53—76.03—250 Hu, Guangwei (Nanyang Technological U., Singapore; Email: gwhu@nie.edu.sg). Potential cultural resistance to pedagogical imports: The case of communicative language teaching in China. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 93—105.03—251 Huang, Jingzi (Monmouth U., New Jersey, USA; Email: jhuang@monmouth.edu). Activities as a vehicle for linguistic and sociocultural knowledge at the elementary level. Language Teaching Research (London, UK), 7, 1 (2003), 3—33.03—252 Hyland, Ken (City U. of Hong Kong; Email: ken.hyland@cityu.edu.hk). Specificity revisited: How far should we go now? English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 385—95.03—253 Jahr, Silke. Die Vermittlung des sprachen Ausdrucks von Emotionen in DaF-Unterricht. [The conveying of the oral expression of emotion in teaching German as a foreign language.] Deutsch als Fremdsprache (Berlin, Germany), 39, 2 (2002), 88–95.03—254 Jung, Yunhee (U. of Alberta, Canada; Email: jhee6539@hanmail.net). Historical review of grammar instruction and current implications. English Teaching (Korea), 57, 3 (2002), 193—213.03—255 Kagan, Olga and Dillon, Kathleen (UCLA, USA & UC Consortium for Language Teaching and Learning, USA). A new perspective on teaching Russian: Focus on the heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 507—18.03—256 Kang, Hoo-Dong (Sungsim Coll. of Foreign Languages, Korea; Email: hdkang2k@hanmail.net). Tracking or detracking?: Teachers' views of tracking in Korean secondary schools. English Teaching (Korea), 57, 3 (2002), 41—57.03—257 Kramsch, Claire (U. of California at Berkeley, USA). Language, culture and voice in the teaching of English as a foreign language. Language Issues (Birmingham, UK), 13, 2 (2001), 2—7.03—258 Krishnan, Lakshmy A. and Lee, Hwee Hoon (Nanyang Tech. U., Singapore; Email: clbhaskar@ntu.edu.sg). Diaries: Listening to ‘voices’ from the multicultural classroom. ELT Journal (Oxford, UK), 56, 3 (2002), 227—39.03—259 Lasagabaster, David and Sierra, Juan Manuel (U. of the Basque Country, Vitoria-Gasteiz, Spain; Email: fiblahed@vc.ehu.es). University students' perceptions of native and non-native speaker teachers of English. Language Awareness (Clevedon, UK), 11, 2 (2002), 132—42.03—260 Lennon, Paul. Authentische Texte im Grammatikunterricht. [Authentic texts in grammar teaching.] Praxis des neusprachlichen Unterrichts (Berlin, Germany), 49, 3 (2002), 227–36.03—261 Lepetit, Daniel (Clemson U., USA; Email: dlepetit@mail.clemson.edu) and Cichocki, Wladyslaw. Teaching languages to future health professionals: A needs assessment study. The Modern Language Journal (Malden, MA, USA), 86, 3 (2002), 384—96.03—262 Łȩska-Drajerczak, Iwona (Adam Mickiewicz U., Poznán, Poland). Selected aspects of job motivation as seen by EFL teachers. Glottodidactica (Poznán, Poland), 28 (2002), 103—12.03—263 Liontas, John I. (U. of Notre-Dame, USA). ZOOMANIA: The See-Hear-and-Do approach to FL teaching and learning. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 36—58.03—264 Littlemore, Jeannette (Birmingham U., UK). Developing metaphor interpretation strategies for students of economics: A case study. Les Cahiers de l'APLIUT (Grenoble, France), 21, 4 (2002) 40—60.03—265 Mantero, Miguel (The U. of Alabama, USA). Bridging the gap: Discourse in text-based foreign language classrooms. Foreign Language Annals (New York, USA), 35, 4 (2002), 437—56.03—266 Martin, William M. (U. of Pennsylvania, USA) and Lomperis, Anne E.. Determining the cost benefit, the return on investment, and the intangible impacts of language programmes for development. TESOL Quarterly (Alexandria, VA, USA), 36, 3 (2002), 399—429.03—267 Master, Peter (San Jose State U., CA, USA: Email: pmaster@sjsu.edu). Information structure and English article pedagogy. System (Oxford, UK), 30, 3 (2002), 331—48.03—268 Mertens, Jürgen. Schrift im Französischunterricht in der Grundschule: Lernehemnis oder Lernhilfe? [Writing in teaching French in primary school: Learning aid or hindrance?] Neusprachliche Mitteilungen aus Wissenschaft und Praxis (Berlin, Germany), 55, 3 (2002), 141–49.03—269 Meskill, Carla (U. at Albany, USA; Email: cmeskill@uamail.albany.edu), Mossop, Jonathan, DiAngelo, Stephen and Pasquale, Rosalie K.. Expert and novice teachers talking technology: Precepts, concepts, and misconcepts. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 46—57.03—270 Mitchell, Rosamond and Lee, Jenny Hye-Won (U. of Southampton, UK; Email: rfm3@soton.ac.uk). Sameness and difference in classroom learning cultures: Interpretations of communicative pedagogy in the UK and Korea. Language Teaching Research (London, UK), 7, 1 (2003), 35—63.03—271 Mohan, Bernard (U. of British Columbia, Canada; Email: bernard.mohan@ubc.ca) and Huang, Jingzi. Assessing the integration of language and content in a Mandarin as a foreign language classroom. Linguistics and Education (New York, USA), 13, 3 (2002), 405—33.03—272 Mori, Junko (U. of Wisconsin-Madison, USA; Email: jmori@facstaff.wisc.edu). Task design, plan, and development of talk-in-interaction: An analysis of a small group activity in a Japanese language classroom. Applied Linguistics (Oxford, UK), 23, 3 (2002), 323—47.03—273 O'Sullivan, Emer (Johann Wolfgang Goethe-U. Frankfurt, Germany; Email: osullivan@em.uni-frankfurt.de) and Rösler, Dietmar. Fremdsprachenlernen und Kinder-und Jugendliteratur: Eine kritische Bestandaufsnahme. [Foreign language learning and children's literature: A critical appraisal.] Zeitschrift für Fremdsprachenforschung (Germany), 13, 1 (2002), 63—111.03—274 Pfeiffer, Waldemar (Europa Universität Viadrina – Frankfurt an der Oder, Germany). Möglichkeiten und Grenzen der interkulturellen Sprachvermittlung. [The possibilities and limits of intercultural language teaching.] Glottodidactica (Poznán, Poland), 28 (2002), 125—39.03—275 Rebel, Karlheinz (U. Tübingen, Germany) and Wilson, Sybil. Das Portfolio in Schule und Lehrerbildung (I). [The portfolio in school and the image of a teacher (I).] Fremdsprachenunterricht (Berlin, Germany), 4 (2002), 263–71.03—276 Sonaiya, Remi (Obafemi Awolowo U., Ile-ife, Nigeria). Autonomous language learning in Africa: A mismatch of cultural assumptions. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 106—16.03—277 Stapleton, Paul (Hokkaido U., Japan; Email: paul@ilcs.hokudai.ac.jp). Critical thinking in Japanese L2 writing: Rethinking tired constructs. ELT Journal (Oxford, UK), 56, 3 (2002), 250—57.03—278 Sullivan, Patricia (Office of English Language Progs., Dept. of State, Washington, USA, Email: psullivan@pd.state.gov) and Girginer, Handan. The use of discourse analysis to enhance ESP teacher knowledge: An example using aviation English. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 397—404.03—279 Tang, Eunice (City U. of Hong Kong) and Nesi, Hilary (U. of Warwick, UK; Email: H.J.Nesi@warwick.ac.uk). Teaching vocabulary in two Chinese classrooms: Schoolchildren's exposure to English words in Hong Kong and Guangzhou. Language Teaching Research (London, UK), 7, 1 (2003), 65—97.03—280 Timmis, Ivor (Leeds Metropolitan U., UK; Email: i.timmis@lmu.ac.uk). Native-speaker norms and International English: A classroom view. ELT Journal (Oxford, UK), 56, 3 (2002), 240—49.03—281 Toole, Janine and Heift, Trude (Simon Fraser U., Bumaby, BC, Canada; Email: toole@sfu.ca). The Tutor Assistant: An authoring tool for an Intelligent Language Tutoring System. Computer Assisted Language Learning (Lisse, The Netherlands), 15, 4 (2002), 373—86.03—282 Turner, Karen and Turvey, Anne (Inst. of Ed., U. of London, UK; Email: k.turner@ioe.ac.uk). The space between shared understandings of the teaching of grammar in English and French to Year 7 learners: Student teachers working collaboratively. Language Awareness (Clevedon, UK), 11, 2 (2002), 100—13.03—283 Warschauer, Mark (U. of California, USA). A developmental perspective on technology in language education. TESOL Quarterly (Alexandria, VA, USA), 36, 3 (2002), 453—75.03—284 Weasenforth, Donald (The George Washington U., USA; Email: weasenf@gwu.edu), Biesenbach-Lucas, Sigrun and Meloni, Christine. Realising constructivist objectives through collaborative technologies: Threaded discussions. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 58—86.

Introduction: According to statistics, the number of students with disability at Lviv Polytechnic National University is 374 people; the number of veteran-students is 6; the number of students-children of veterans is 811. Moreover, there is a Ukraine-Norway Project conducted on the basis of Lviv Polytechnic providing retraining courses for veterans and their family members. In the five years of the project implementation, 428 people have been trained at Lviv Polytechnic. To meet the educational needs of those categories of students the Accessibility Services for students with disability and Veteran Services for combatants, their family members and IDPs have been established at Lviv Polytechnic. The activities of those services are aimed at providing support to students with disability, veteran students, students-family members of veterans, internally displaced persons; ensuring the provision of necessary information and assistance in higher education settings. For the successful functioning of these and similar services, it is important to study the post-traumatic stress disorder (PTSD) and the trauma-informed approach (TIA). Furthermore, the realities of Ukrainian society give impetus to the experience of traumatic events not only to the above-mentioned categories of students, but also to others who do not belong to them. Therefore, it is advisable to comprehensively study and implement the trauma-informed approach in the educational process to ensure inclusive education environment for each category of students with special educational needs. Purpose: The purpose of the article is to highlight the importance of the development of trauma-informed approach to meet the needs of students experiencing trauma, students with disabilities and veteran-students particularly. Methods: Theoretical research methods were used to determine the needs of students experiencing trauma to be met in educational process using the trauma-informed approach at higher schools of Ukraine on the example of Accessibility and Veteran Services at Lviv Polytechnic. Results: Inclusive education has been considered as a part of social inclusion. Key issues of the development of inclusive education environment are addressed based on applying trauma-informed approach. The purpose to implement a trauma-informed approach in academic environment is identified based on scientific research data and needs assessment. The two basic concepts of trauma-informed approach realization have been developed. For the first time in the national scientific opinion the possibilities of implementing an inclusive educational environment in the higher education institutions of Ukraine, taking into account the needs and problems of students experiencing trauma were described. During the educational process, the trauma-informed approach is important to be used when detecting the following symptoms: limited ability to focus, anxious or obsessive thoughts, inability to consistently do research and attend classes, panic attacks with difficulty of breathing, rapid heartbeat, sweating, and deep agitation of short and / or long-term memory, fatigue, decreased concentration and attention, lack of initiative and motivation, irritability and increased sensitivity to stress, inappropriate behavior and poor social skills, slow response rates, difficulty in solving problems, difficulties in planning and sequencing, depression, anxiety and low self-esteem, impulsiveness, loss of taste and smell, dizziness and difficulty with balance, epilepsy and convulsions, headaches, decrease or change in vision, chronic pain, paralysis, difficulty in reading and summarizing (processing information). Some of these characteristics are very individual, others are the opposite, and are noticeable at once. That is why it is important to disseminate information among the academic community. At the same time, the above-mentioned attributes not only to students who are experiencing/have experienced trauma, but also may concern students with mental health disorders, which in turn make it possible to create an inclusive educational environment tailored to these categories of students as well. It is important to understand that a student with special educational needs has the same responsibilities as all other students. It is to attend classes and fulfill the basic requirements of the course. The role of the instructor is to help the student in finding solutions to fulfill these responsibilities, not to lower expectations because of the student's special educational needs, abide by the principles of confidentiality regarding the personal information of the student with special educational needs. To address the above need, we plan to carry out further research in this field in relation to the practical work of the “No Limits” Accessibility Services and the Veteran Services at Lviv Polytechnic, taking into account the international experience, with a focus on the American and Canadian approaches. Conclusion: To achieve the research goal and objectives in creating the environment friendly to people in difficult life circumstances the trauma-informed approach to providing educational services is suggested to be implemented. In the practice of trauma-informed approach realization, the two foci are distinguished, i.e., achieving personal development and wellness of the students experiencing trauma via special services provided for them (by Students Accessibility Services and Veteran Services at Lviv Polytechnic) and transforming the environment through educational work with the University academic community

Drawing on my recent experience of working in collaboration with the artist-led project, Open City, I want to explore the potential of an active and resistant - rather than passive and acquiescent – form of stillness that can be activated strategically within a performance-based practice. The article examines how stillness and other forms of non-productive or non-teleological activity might contribute towards the production of a radically dissenting – yet affirmative – model of contemporary subjectivity. It will investigate how the performance of stillness within an artistic practice could offer a pragmatic model through which to approach certain philosophical concepts in relation to the construction of subjectivity, by proposing a practical application of the various ideas explored therein. Stillness is often presented as antithetical to the velocity, mobility, speed and supposed freedom proposed by new technologies and the various accelerated modes by which we are encouraged to engage with the world. In one sense, stillness and slowness have been deemed outmoded or anachronistic forms of temporality, as fastness and efficiency have become the privileged terms. Alternatively, stillness has been reclaimed as part of a resistant – or at least reactive – “counter-culture” for challenging the enforced and increased pace at which we are required to perform. The intent, however, is not to focus on the transcendent possibilities – or even nostalgic dimension – of stillness, where it could be seen as a form of escape from the accelerated temporalities of contemporary capitalism, a move towards a slower, more spiritual or meditative existence by the removal of or self-imposed isolation from contemporary societal pressures. Instead, this article attempts to explore the potential within those forms of stillness specifically produced in and by contemporary capitalism, by reflecting on how they might be (re)inhabited – or appropriated through an artistic practice – as sites of critical action. The article will suggest ways in which habitually resented, oppressive or otherwise tedious forms of stillness, inaction or immobility can be turned into active or resistant strategies for producing the self differently to dominant ideological expectations or pressures. With reference to selected theoretical ideas primarily within the writing of Gilles Deleuze – especially in relation to Spinoza’s Ethics – I want to explore how the collective performance of stillness in the public realm produces an affect that both reveals and disrupts habitual patterns of behaviour. Stillness presents a break or pause in the flow of events, illuminating temporal gaps and fissures in which alternative or unexpected possibilities – for life – might be encountered and encouraged. The act of collective stillness can be understood as a mode of playful resistance to, or refusal of, societal norms, a wilful and collaborative attempt to break or rupture habitual flows. However, collective stillness also has the capacity to exceed or move beyond resistance by producing germinal conditions for a nascent community of experience no longer bound by existing protocol; a model of “communitas” emerging from the shared act of being still. The focus then, is to reflect on how the gesture of stillness performed within the context of an artistic practice – such as that of Open City – might offer an exemplar for the production of an affirmative form of subjectivity, by arguing how the practice of stillness paradoxically has the potential for increasing an individual’s capacity to act. Open City is an investigation-led artistic project – led by Andrew Brown and Katie Doubleday – that explores how public space is conceptualised and organised by interrogating the ways in which our daily actions and behaviours are conditioned and controlled. Their research activity involves inviting, instructing or working with members of the public to create discreet interventions and performances, which put into question or destabilise habitual patterns or conventions of public behaviour, through the use of invitations, propositions, site-specific actions and performative events. The practical and theoretical research phase of the Open City project was initiated in 2006 in collaboration with artist/performer Simone Kenyon. During this phase of research Open City worked with teachers of the Alexander Technique deconstructing the mechanics of walking, and observed patterns of group behaviour and ‘everyday’ movements in public spaces. This speculative phase of research was expanded upon through a pilot project where the artists worked with members of the public, inviting them to attempt to get lost in the city, to consider codes of conduct through observation and mimicry, to explore behavioural patterns in the public realm as a form of choreography, and to approach the spaces of the city as an amphitheatre or stage upon which to perform. This culminated in a series of public performances and propositional/instructive works as part of the nottdance festival in Nottingham (2007) where audiences were invited to participate in choreographed events, creating a number of fleeting and partially visible performances throughout the city. Members of the public were issued specific time-based invitations for collective and individual actions such as ‘Day or night – take a walk in which you notice and deliberately avoid CCTV cameras’ or ‘On the high street during rush hour … suddenly and without warning, stop and remain still for five minutes … then carry on walking as before.’ Image 1: Open City, documentation of publicly-sited postcards. As part of this phase of activity, I was invited by Open City to produce a piece of writing in response to their work – to be serialised over a number of publicly distributed postcards – which would attempt to critically contextualise the various issues and concerns emerging from the investigation-led research that the project had been developing in the public realm. The postcards included an instruction written by Open City on one side, and my serialised text on the other. I have since worked more collaboratively with Open City on new research investigating how the different temporalities within the public realm might be harnessed or activated creatively; how movement and mobility affect the way in which place and locality are encountered or understood. My involvement with the project has specifically been in exploring the use of text-based elements, instructions and propositions and has included further publicly-sited postcard texts and the development of sound-based works using iPod technology to create synchronised actions. In 2008, I successfully secured Arts Council of England funding for a practice-based research trip to Japan with Open City in which we initiated our specific investigations around stillness, slowness, obstruction, and blockage. During this phase of research we became interested in how speed and slowness can be utilised within a performance practice to create points of anchor and location within the urban environment, or in order to affect a psychological shift in the way that space is encountered and understood. Image 2: Open City, research investigations, Japan, 2008.On one level, Open City can be located within a tradition of publicly-sited performance practices. This genealogy of politically – and more often playfully – resistant actions, interventions and models of spatial occupation or navigation can be traced back to the ludic practice of Surrealist errance or aimless wandering into and through the Situationists’ deployment of the dérive and conceptualisation of “psychogeography” during the 1950s and 60s. In its focus on collective action and inhabitation of the everyday as a site of practice, Open City is also part of a trajectory of artistic activity – epitomised perhaps by Allan Kaprow’s Happenings – intent on blurring the line between art and life, or in drawing attention to those aspects of reality marginalised by dominant discourses and ideologies. Performed as part of an artistic practice, non-habitual or even habitually discouraged actions such as aimless wandering, standing still, even the (non)event of 'doing nothing' operate as subtle methods through which to protest against increasingly legislated conditions of existence, by proposing alternative modes of behaviour or suggesting flexibility therein. Artistic practice can be seen as a site of investigation for questioning and dismantling the dominant order – or “major” language – through acts of minor rebellion that – whilst predominantly impotent or ineffective – might still remind us that we have some agency and do not always need to wholly and passively acquiesce. Life itself becomes the material for a work of art, and it is through such an encounter that we might be encouraged to conceive other possibilities for life. Through art, life is rendered plastic and capable of being actively shaped or made into something different to how it might habitually be. However the notion of ‘life as a work of art’ is not exclusive to artistic practice. Various theorists and philosophers – including Nietzsche, Foucault, Spinoza, Deleuze and Guattari – have advocated the necessity of viewing life as a kind of project or mode of invention, suggesting ways in which one’s “style of life” or way of existing might be produced or constructed differently. They urge us to consider how we might actively and consciously attend to the full possibilities of life in order to become more human, by increasing our “affective capacity,” that is, our capacity to affect and be affected in affirming or “augmentative terms” (Deleuze, Spinoza and Us 124). In one sense, Spinoza’s Ethics offers a pragmatic model – or guide to living – through which to attempt to increase one’s potential capacity for being, by maximising the possibility of augmentative experiences or joyful encounters. Here, Spinoza formulates a plan or model through which one might attempt to move from the “inadequate” realm of signs and effects – the first order of knowledge in which the body is simply subject to external forces and random encounters of which it remains ignorant – towards a second order of knowledge. Here, the individual body is able to construct concepts of causes or “common notions” with other “bodies in agreement.” The “common notions” of the second order are produced at the point where the individual is able to rise above the condition of simply experiencing effects and signs in order to form agreements or joyful encounters with other bodies. These harmonious synchronicities with other bodies harness life-affirming affects whilst repelling those that threaten to absorb or deplete power. It is only through the construction of “concepts” – an understanding of causality – that it is possible to move from the realm of inadequate ideas towards the production of “adequate ideas from which true actions ensue” (Deleuze, Spinoza and the Three Ethics 143). According to Spinoza’s Ethics, the challenge is to attempt to move from a state in which existence is passively experienced – or suffered blindly – as a series of effects upon the body, towards understanding – and working harmoniously with – the causes themselves. In his reading of Spinoza’s Ethics, Gilles Deleuze suggests that this shift occurs through consciously selecting those affects that offer the possibilities of augmentation (an increase in power through joy) rather than diminution (the decrease of power through sadness). Whilst Spinoza appears to denounce affects as simply inadequate ideas that should be avoided, Deleuze argues that there are certain life-affirming or joyful affects that can be seen as the “dark precursors” of the notions (The Three Ethics 144). According to Deleuze, whilst such “signs of augmentation remain passions and the ideas that they presuppose remain inadequate,” they alone have the capacity to enable the individual to increase in power, for the “selection” of affect is in itself the “condition of leaving the first kind of knowledge, and for attaining the concept” (The Three Ethics 144). For Deleuze-Spinoza, the production of subjectivity is a form of endeavour or “passional struggle,” whereby the individual attempts to increase his or her capacity for turning affects or signs into common notions or concepts (The Three Ethics 145). Deleuze argues that the “common notions are an Art, the art of Ethics itself: organising good encounters, composing actual relations, forming powers, experimenting” (Spinoza and Us 119). This is then a life-long project or practice – the making of life into a work of art – focused on increasing one’s potential to affect and be affected by signs that increase power, whilst simultaneously reducing or minimising one’s threshold of affectivity towards those which diminish or reduce it. I am interested in the role that the artist or artist collective could have in the production of this Spinozist model of subjectivity; how they might function as an intermediary or catalyst, creating conditions or events in which augmentative affects – such as those made possible through a dynamic or active form of stillness – are increased and their energies harnessed. Here perhaps, the affective potential of an art practice is in itself the “dark precursor” of common notions, drawing together bodies in agreement by calling into being an audience or community of experience. On one level, the artist performs an analogous role to Spinoza’s “scholia” – the intermittent sequence of polemical notations “inserted into the demonstrative chain” of propositions – within the Ethics, which according to Deleuze:Operate in the shadows, trying to distinguish between what prevents us from reaching our common notions and what, on the contrary, allows us to do so, what diminishes and what augments our power, the sad signs of our servitude and the joyous signs of our liberations (The Three Ethics 146).Certainly the project, Open City, attempts to draw attention to the habitually endured –or suffered – signs and affects of contemporary experience; striving to remedy the sad affects of capitalism through the production of playful, disruptive or even joyful interventions, events and encounters between bodies in agreement. The disempowering experience or affect of being controlled – blocked, stopped or restricted – by societal or moral codes and civic laws, is replaced by a minor logic of ambiguous, arbitrary and optional rules. Such rules foreground experimentation and request an ethical rather than obedient engagement that in turn serves to liberate the individual from habitual passivity. Open City attempts to reveal – and then resist or refuse – the hidden rules that determine how to operate or perform within contemporary capitalism, the coded orders on how to behave, move and interact. It exposes such insidious legislation as constructs whose logic has been put in place or brought into effect over time, and which in turn might be revoked, dislocated or challenged. For Open City, the performance of stillness can be used as a gesture through which to break from or rupture the orchestrated and controlled flow of capitalist behaviours and its sad affects. Image 3: Open City, documentation of performance, Nottingham, 2008. Random acts of stillness produce moments of friction within the smooth, regulated flows of contemporary capitalism; singularised or inconsistent glitches or jolts that call to attention its unnoticed rhythms and temporal speeds, by becoming its counter-point or by appropriating its “language” for “strange and minor uses” (Deleuze and Guattari 17). Dawdling or meandering reveals the fierceness of the city’s unspoken bylaws, whilst the societal pressure towards speed and efficiency is thwarted by moments of deliberate non-production, inaction and the act of doing nothing. In one example of collective action – at noon on a shopping street – around fifty pedestrians, suddenly and without warning, stop still in their tracks and remain like this for five minutes before resuming their daily activity. In another, a group of individuals draw to a standstill and slowly sway from side to side; their stillness becomes a device for affecting a block or obstacle that limits or modifies others’ behaviour, creating an infinitely imaginable ricochet of further breaks and amendments to routine journeys and directional flows. Open City often mimics or misuses familiar behavioural patterns witnessed in the public realm, inhabiting their language or codes in a way that playfully transforms their use or proposes elasticity or flexibility therein. Habitual or routine actions are isolated and disinvested of their function or purpose, or become repeated until all sense of teleological imperative is wholly evacuated or rendered absurd. For example, a lone person stops still and holds their hand out to check for rain. Over and over, the same action is repeated but by different individuals; the authenticity of the original gesture shattered and separated from any causal motivation by the reverberations of its uncanny echo. Such performed actions remove or distance the response or reaction from its originary stimulus or excitation, creating an affective gap between – a no longer known or present – cause and its effect. This however, is not to return action back to realm of Spinoza’s first order of knowledge – where the body only experiences effects and remains ignorance of their cause – but rather an attempt to create a gap or space of “hesitancy” in which a form of creativity might emerge. Within the act of stillness, habitually imperceptible rhythms and speeds become visible. By being still it is possible to witness or attend to the presence of different or heterogeneous temporal “refrains” or durations operating beneath and within the surface appearance of capitalism’s homogeneous flow.Open City attempts to recuperate the creative potential within those moments of stillness generated through the accelerated technologies of contemporary capitalism: the situational ennui endured whilst waiting or queuing; the moments of collective and synchronised impasse controlled by technologies such as traffic lights and pedestrian crossings, and even – though perhaps more abstractly – the nebulous experience of paralysis and impotency induced by fear, anxiety and uncertainty. Performances attempt to neutralise these various diminutive affects by re-inhabiting or re-framing them; ‘turning’ their stillness towards a form of memorial, protest or social gathering, or alternatively rendering it seemingly empty, unreadable or absurd. This emptiness can also be understood as a form of disinterestedness that refuses to react to immediate stimulus – or lack of – and rather remains open to other possibilities of existence or inhabitation. Stillness is curiously equivocal, an “ambiguous or fluctuating sign” that has the capacity to “affect us with joy and sadness at the same time” (Deleuze The Three Ethics 140). The external appearance of stillness is ultimately blank, its “event” able to affect a “vectorial passage” of contradictory directions, towards an “increase or decrease, growth or decline, joy or sadness” (Deleuze, The Three Ethics 140). Open City attempts to transform the – potentially – diminutive affects of stillness into “augmentative powers” by occupying the stillness of contemporary capitalism as a disguise or camouflage for producing invisible performances that hijack a familiar language in order to misuse its terms. More recently Open City have adapted or occupied the moments of stillness made possible or enabled by everyday technologies: the inconsistent rhythm patterns of stopping, pausing or circling about on the spot exhibited by someone absorbed in a mobile-phone call, text messaging or changing a track on their MP3 player. Here, certain technologies allow, legitimate or even give permission for the disruption of the flow of movement within the city, or are used as a device through which to explore and exploit the potential of collective synchronised action through the use of recorded instructions.Image 4: Open City, public performance from the Dislocate festival (Yokohama, Japan, 2008).The alienating and atomising affects of such personal technologies – which are habitually used and isolate the individual from their immediate surroundings and from others around them – are transformed into tools for producing collective action. In one sense, Open City’s performances operate as a form of “minor art” as outlined by Deleuze and Guattari, where a major language – the dominant order of capitalism and control – is neutralised or deterritorialised before being “appropriated for strange and minor uses” (17). For Deleuze and Guattari a minor practice is always political and collective, signalling the “movement from the individual to a ‘collective multiplicity’” where there is no longer an individual subject as such but “only collective assemblages of enunciation”(18). The minor always operates within the terms of the major but functions as a destabilising agent where it attempts – according to Simon O’Sullivan – to “stammer and stutter the commodity form, disassembling those already existing forms of capital and indeed moving beyond the latter’s very logic” (73). However, as with all acts of deterritorialisation there is always the potential that they will in turn become reterritorialised; assimilated or absorbed back into the language of the “major”. This can be seen, for example, in the way that the proposed radical potential of the flash-mob phenomenon has been swiftly recuperated through the language of the corporate publicity campaigns of high-profile companies – specifically telecommunication multi-nationals - for whom the terms ‘community’ and ‘collectivity’ are developed as Unique Selling Points for further capitalist gain.By contrast, the intent of Open City is to create an event that operates not only as a visible rupture, but which also has the capacity to transform or radicalise the subjectivities of those involved beyond the duration of the event itself. Open City encourage the movement from the individual to a “collective multiplicity,” through performances that produce synchronised action where individuals become temporally united by a rule or instruction that they are collectively adhering to. Publicly distributed postcards have been used to invite or instruct as-yet-unknown publics to participate in collective action, setting the terms for the possibility of imagined or future assemblies. Or more recently, recorded spoken word instructions listened to using MP3 player technology have been used to harmonise the speeds, stillness and slowness of individual bodies to produce the possibility of a new collective rhythm or “refrain” (Guattari, Subjectivities). For example, within the Dislocate festival (Yokohama, Japan, 2008) a group of individuals were led on a guided walk in which they engaged with a series of spoken instructions listened to using MP3 player technology. The instructions invited a number of discreet performances culminating in a collective moment of stillness that was at once a public spectacle and a space of self-contained or private reflection. Image 5: Open City, public performance from the Dislocate festival (Yokohama, Japan, 2008). Once still, the individuals listened to a further spoken text which interrogated how the act of ‘being still’ might shift in meaning moving from or between different positions. For example, stillness can be experienced as a controlling or restrictive mode of enforced waiting, as an act of resistant refusal or protest, or alternatively as a model of quiet contemplation or idle daydreaming. For Spinoza, a body is defined by its speeds and slowness – by the relationship between motion and rest – and by its capacity to affect and be affected. In attempting to synchronise the speeds and affectivity of individuals through group action, Open City create the conditions for the production of Spinoza’s “common notions” – or second kind of knowledge – through the organisation of a collective or shared understanding of causality by bodies in agreement. Acts of collective stillness also function in an analogous manner to the transitional or liminal phase within ritual performance by producing the possibility of “communitas,” the transient experience of togetherness or even of collective subjectivity. In From Ritual to Theatre, The Human Seriousness of Play, anthropologist Victor Turner identifies a form of “existential or spontaneous communitas” – an acute experience of community – experienced by individuals immersed in the "no longer/not yet" liminal space of a given ritualistic process, in which “the past is momentarily negated, suspended or abrogated, and the future has not yet begun, an instant of pure potentiality when everything, as it were, trembles in the balance” (44). Stillness is presented as pure disinterestedness, a non-teleological event enabling nothing but the possibility of a community of experience to come into being.Within Open City then, the gesture of stillness recurs as a device or “event-encounter” for simultaneously producing a break or hiatus in an already existing formulation of experience, at the same time as creating a gap or space of possibility in which to imagine or affirm an alternative mode of being. Referring to the Deleuzian notion of encounter, O’Sullivan reflects on the dual presence of rupture and affirmation within the moment of encounter itself whereby “our typical ways of being in the world are challenged, our systems of knowledge disrupted” (Sullivan,xxiv). He argues that the encounter:Operates as a rupture in our habitual modes of being and thus in our habitual subjectivities. It produces a cut, a crack. However … the rupturing encounter also contains a moment of affirmation, the affirmation of a new world, in fact a way of seeing and thinking this world differently (Sullivan, xxv).Open City attempts to create the conditions for these dual possibilities – of rupture and affirmation – through the production of joyful encounters between bodies within the event of performed stillness. Stillness operates as a double gesture where it creates a stop or block – a break with the already existing or with the events of the past – and also a moment of pause, the liminal space of projection; a future-oriented or preparatory zone of pure potentiality. Stillness thus offers the simultaneous possibility of termination and of a new beginning, within which it becomes possible to move from a paradigm of resistance – to the present conditions of existence – towards one of augmentative refusal or proposal that invites reflection on a still future-possible way of life. Poised at a point of anticipation or as a prophetic mode of waiting, stillness offers the promise of as-yet-undecided possibilities where options for future action or existence remain momentarily open, not yet known. Collective stillness thus always has a quality of “futurity” by creating the transitional conditions of communitas or the possibility of a community emerging outside or beyond the temporal frame of capitalism: a community that is still in waiting. ReferencesBergson, Henri. Matter and Memory. Trans. N. M. Paul and W. S Palmer. New York: Zone Books, 1991.De Certeau, Michel. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: U of California P, 1984. Deleuze, Gilles, and Félix Guattari.“What Is a Minor Literature.” Kafka toward a Minor Literature. Trans. Dana Polan. Minneapolis: U of Minnesota P, 1986.Deleuze, Gilles. “Spinoza and the Three ‘Ethics’.” Essays Critical and Clinical. Trans D. W. Smith and M. A. Greco. London: Verso, 1998.———. “Life as a Work of Art.” Negotiations: 1972-1990. New York: Columbia U P, 1995.———. “Spinoza and Us.” Spinoza: Practical Philosophy. Trans. R. Hurley. San Francisco: City Lights Books, 1988. Guattari, Felix. “Subjectivities: For Better and for Worse.” The Guattari Reader. Ed. G. Genosko. Oxford: Basil Blackwell, 1996.Foucault, Michel. “An Aesthetics of Existence.” Politics, Philosophy, Culture. Ed. L. Kritzman. London: Routledge, 1990.O’Sullivan, Simon. Art Encounters Deleuze and Guattari. London: Palgrave Macmillan, 2006.Spinoza, Benedict. Ethics. Trans. A Boyle. London: Everyman, 1989. Turner, Victor. From Ritual to Theatre: The Human Seriousness of Play. New York: PAJ Publications, 1982.

Preface In the last twelve years of following copyright developments, I have witnessed an accelerating growth in the agitation over its application and increasing cries for reform. This was triggered by a mounting corporate hysteria for strengthening copyright which seems to mask other anxieties and other issues of bad faith beside the one at hand. This is in contrast with the more reasonable stance of the U.S. government in the 1980s when Congress refused to regulate video rentals and the Courts refused to cite the video recorder for ‘contributory infringement.’ In the 1990s, the Republican-controlled Congress passed several pieces of legislation extending copyright and punishing reverse engineering. Congressional giveaways and corporate shrillness has inspired a progressive movement to defend the intellectual ‘commons.’ The reality is that intellectual property is not owned by intellectuals, and so people are realising that further extensions of copyright no longer benefits the sciences and useful arts. Developments in copyright are driven by the challenges of new technologies of communication. This is a problem for the law, which does not like surprises and certainly proceeds by analogising new situations to old ones in order to build continuity. Case law (which is law that is developed by judges’ decisions and interpretations) proceeds by precedent. Yet old technologies are not the accurate precedents for new technology and this is particularly the situation today. The new technologies have a particular impact on the situation since they change not just one variable in the earlier balance of copyright, but all the variables. While the courts and the corporations have concentrated on the one variable of easy reproduction of content, we should also pay attention to how the new technologies have changed the very balance between the so-called ‘real world’ and cultural expression. The material world is now composed to a significant extent by cultural expression. We walk through physical landscapes dominated by billboards and other totems of the marketplace, while our mentalscapes are filled with trademarks and other commodity bits. This was not the case as copyright law developed; it is the case now, and the various underpinnings of copyright law have become embarrassingly ineffective in this new world. Edelman Bernard Edelman pushes back to find the moment of embarrassment. He finds it in photography. As Paul Hirst points out, ‘[Edelman’s title] Le Droit saisi par la photographie puns on the law being seized or caught by photography, surprised or caught out by it. Photography, a technical innovation developing independently of law, contradicts the existing formulations of property right in representations of things’ (Hirst 1-2). Prior to photography, representation inherently had stamps of personality that allowed such representation (painting, drawing, engraving et alia) to be easily and significantly distinguished from that part of the material world it was representing, as well as from other artistic representations (even of the same referent). The earliest French legal pronouncements on photography were reluctant to grant it copyright protection, precisely because it was thought to have no personality and to be a mechanical copy of nature. When the court did extend copyright protection to photography and admitted its personality, it was faced with how to distinguish it from the natural. The camera could no longer be interpreting as transparently reproducing the real. Edelman calls this the subjectivisation of the machine. The camera can no longer be both a transparent reproducer of the real; it has been found always to invest the real with the personality of its subject (the photographer). This has resulted in a number of ad hoc decisions to prevent ‘over-appropriation’ of the real. Anglo-American versus French Law Anglo-American writing about copyright has never wasted much time on subjectivisation of the machine. The basis of British copyright was pragmatic and economic to begin with, having originated with the Tudors’ desire to encourage printing by granting monopoly rights to printers, and to control and censor printing. The relocation of copyright ownership from printer to author in the 18th century was also an economically driven consideration reflecting the new spirit of competitive capitalism. Certainly the language of the U.S. Constitution that authorised the federal prerogative in setting copyright law was very pragmatic in its emphasis on promoting the progress of science and the ‘useful’ arts (Article 1 Section 8). The French tradition, which is somewhat paralleled by the German and those of other continental nations, was born out of a more courtly regard for the rights of genius. Although France recognised that works ‘made for hire’ were owned by the employer, it vested certain inalienable moral privileges in the real person of the artist. This legal doctrine is known as droit d’auteur. (see Ginsburg) Idea/Expression Yet the American tradition is not totally pragmatic. The balance between copyright and the First Amendment commitment to an absolute freedom of speech calls for a certain degree of abstraction. It was Thomas Jefferson who cautioned about the chilling effect copyright law might have with the spread of ideas. Fortunately in written language it was rather easy to work out that the way to protect ideas from property claims was to distinguish between the expression, which can be copyrighted, and the idea, which cannot. Siva Vaidhyanathan (109-15) goes over Judge Learned Hand’s development of the test to distinguish the idea from the expression in the 1920s and 1930s as particularly instructive for striking the balance. In Nichols v. Universal (1929), Hand develops the theme of ‘patterns of increasing generality’ as more incident is left out. At some point the abstraction is too great to be protected, since it now is more in the realm of idea then of particular expression. (45 F.2d 120) But Edelman’s work poses the question whether this works, as we move from machines of writing to machines of visual reproduction. Doesn’t Apply to Mechanical Mimetic Reproduction Photographs can be taken of the imaginary world and indeed the subjectivisation model holds that every photograph is determined by the imagination of the author. But it is commonsensical that photographs begin as traces of the material world. This is not analogous to the written word. The structural nature of language removes the written word from a direct relationship with its physical referent. Indeed, the entire linguistic turn in post-war philosophy is premised on the lack of any transparent or even determined relationship between language and things. Even in pre-war jurisprudence it was this lack of coincidence that allowed the easy split of the idea from its expression. As the expression floats above the idea, the word floats above the physical. Vincent Porter argues that in contrast to language, visual and audio recordings do not have this split, they do not float above the physical. He noted sound/image recordings have presented a problem in that they are speech acts without a language system, or in a distinction borrowed from Saussure ‘a series of paroles without a langue.’ (Porter 12) After all does a photograph fit into a grammar of images? Are there photographs that are ‘patterns of increasing generality?’ Where is the photograph that is the same idea as another photograph without being the same photograph? Is there a photograph that can do the same work as the word ‘mother?’ No. Every photograph will be of a particular mother of a particular age and particular ethnic group and the same difficulty applies even if we photograph a group of mothers or edit a montage of mothers. This has the effect of making the idea the same as the expression. If you protect one you have protected the other. At this point I was not certain how decisive an intervention these concepts could make in the current copyright ferment. Certainly the most exciting argument was the one mounted at the Berkman Institute at Harvard by several lawyers and argued before the Supreme Court by Lawrence Lessig in Eldred v. Ashcroft (2003). This presented the argument that the government had strayed from the original Constitutional mandate to allow exclusive rights only for a limited time. But as I read Lessig’s Free Culture and as I re-read Edelman, it strikes me that the idea/expression test does not adequately help the First Amendment rights of technologies of mimetic reproduction (film, audio recordings). It is that these technologies allow reproductions to easily re-enter the material world. When these reproductions do re-enter they will naturally become part of the domain of creative expression. Our artists must be allowed to freely comment on the world in which we live and the world in which we live is now visually and aurally full of copyrighted material. This image came to mind forcefully when Lessig explained the difficulties of documentarians when they film their subjects watching TV and then have to edit out the TV image rather than deal with the risk of being sued for infringement (Aufderheide and Jaszi 95-8). This image also comes to mind when reading of farmers who are not allowed to harvest their seed because they come from patented plants. But I will defer to patent philosophers on that apparent travesty of natural rights. I wish to stay focused on the argument that is the corollary of Edelman’s subjectivisation of the camera. The camera records the physical world and in turn that recording enters that world. This is to say that the genius of copyright is in the literary domain because written language never re-enters the material world. When copyright was extended beyond the literary, policy makers should have noticed that earlier tests were no longer capable of maintaining balance between our divine right to express our lives and the practical right to own our own expressions (for a limited time). The new test is almost already present in the law: it is the protection of parody from copyright infringement violation. The courts recognise that parody positions the original expression as an artifact of the world in order to comment on it. If only the policy makers could extend that view to documentarians and others who film the world and include in their film the physical fact of other videos being displayed in the world. Just as in parody they ought to consider the intent of the video makers is to comment on the original, not to plagiarise it. References Aufderheide, P., and P. Jaszi. Untold Stories: Creative Consequences of the Rights Clearance Culture for Documentary Filmmakers. 2004. 25 April 2005 http://www.centerforsocialmedia.org/rock/index.htm>. Edelman, B. Ownership of the Image: Elements for a Marxist Theory of Law. London: Routledge & Kegan Paul, 1979. Eldred v. Ashcroft, Attorney General. United States Supreme Court decision, 15 January 2003. http://www.supremecourtus.gov/opinions/02pdf/01-618.pdf>. Ginsburg, J. C. “A Tale of Two Copyrights: Literary Property in Revolutionary France and America.” Tulane Law Review 64.5 (1990): 991-1032. Hirst, P. Q. “Introduction.” In Bernard Edelman, Ownership of the Image: Elements for a Marxist Theory of Law. London: Routledge & Kegan Paul, 1979. Lessig, L. Free Culture. 2004. 8 April 2005 http://free-culture.org/get-it>. Porter, V. “Copyright: The New Protectionism.” InterMedia 17.1 (1989): 10-7. Vaidhyanathan, S. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York: NYU Press, 2001. Citation reference for this article MLA Style Wasser, Frederick. "When Did They Copyright the World Without Us Noticing?." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/05-wasser.php>. APA Style Wasser, F. (Jul. 2005) "When Did They Copyright the World Without Us Noticing?," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/05-wasser.php>.

Sometimes ... we don’t want to feel like a post-modern, post-feminist, overstretched woman but, rather, a domestic goddess, trailing nutmeggy fumes of baking pie in our languorous wake (Nigella Lawson, How to be a Domestic Goddess vii). IntroductionFor today’s female readers, the idea of trailing “nutmeggy fumes” of home-baked pie through their kitchens could be as much a source of gender-stereotyping outrage as one of desire or longing. Regardless of personal response, there seems little doubt that the image Lawson’s words create prevails even in the 21st century: an apron-clad, kitchen-bound woman, cooking for others as an expression of love and communication. This is particularly true of contemporary cookbooks written by and aimed at women. Two examples are Sophie Dahl’s Miss Dahl’s Voluptuous Delights (2010) and Nigella Lawson’s How to be a Domestic Goddess (2000). This paper explores how Dahl and Lawson use three narrative strategies—sequence, description and voice—to frame their recipes; it also analyses how these narrative strategies encourage readers to embrace traditional constructs of domestic femininity, albeit in a contemporary and celebratory light. The authors’ use of these strategies also makes their cookbooks more than simply instruction manuals—instead, they become engaging and pleasurable texts that use memoir, humour and nostalgia to convey their recipes and create distinct authorial personas and cultural ideas about food and femininity. While primary purpose of cookbooks is to instruct, what makes them distinctive—and, arguably, so popular—is their mix of pleasure and utility. The stories they tell, both cultural and personal, are what make us continue to buy and read them, despite bookshelves that may already bend beneath the weight of three hundred different versions of chicken risotto and chocolate cake; as Anne Bower notes, many women read cookbooks for escapism and enjoyment. This concept of escapism and enjoyment is closely tied to the role of narrative. Cognitive narratology, a more recent strand of narrative theory, emphasises what readers bring to a text, and how narrative allows readers to frame and understand texts and the world around them. Therefore, cookbooks that situate their recipes among personal anecdotes and familiar cultural ideals or myths—such as the woman in the kitchen—appeal to our experiences and emotions. Cookbooks thus become engaging and resonant on personal and sociocultural levels: Gvion argues that cookbooks are “social texts” (54), which seems appropriate when considering the meanings we ascribe to food—it remains a fundamental part of our culture and identity (Lupton). Certain cookbooks—those that emphasise the social and emotional aspects of what we consume—can be regarded as a reflection of how we attach meanings to foods in particular contexts (Mintz). The books discussed in this paper combine the societal and personal aspects of this process: their authors blend familiar cultural tropes with their own engaging autobiographical anecdotes using sequence, description and voice. Narrative theory has traditionally been applied to fiction, and cookbooks obviously lack fictional elements such as plot and character. However, cognitivist narratology, which directs its focus to humans’ cognitive understanding and perception of various actions and events (Fludernik, Histories), makes it applicable to a range of texts. Cookbooks’ use of sequence, description, and voice create “storyworlds” for readers, which “can be viewed as [a] global mental representation enabling interpreters to draw inferences about items and occurrences either explicitly or implicitly included in a narrative” (Herman 9). Cookbook authors use memories, anecdotes and imagery to conjure scenes to which readers can aspire or relate, perhaps prompting responses similar to those experienced when reading fiction.Prince characterises narrative as a “representation of events in a time sequence” (82). The sequence of information and anecdotes in a cookbook—its introduction, chapter structure and recipe structure—positions readers to read and interpret the text in a particular way; it is both part of how the texts authors construct a sense of self and of how they encourage readers to construct their own meanings in response. Dahl, for example, arranges her recipes according to season, since she places great importance on seasonal eating. Description is the cornerstone of any successful cookbook, since it becomes impossible to successfully replicate a dish if you cannot make sense of the instructions. However, in a narrative sense, description operates as part of a narrator’s “rhetorical strategy” (Bal 36); it helps construct their narrative persona and enables them to reinforce the associations between food, culture and identity in evocative language. Voice is the final piece of the narrative puzzle. These cookbooks are all “narrated” by their authors, who offer selected anecdotes and stories to support their authorial intentions and position readers to interpret their texts in a particular way. Feminist narratologist Susan Lanser regards voice as the “intersection of social identity and textual form” (14), a definition that recognises the broader social and cultural significance of cookbooks. Since they tend to be narrated “directly” from author to readers, authorial voice serves not only to engage readers, but also to establish authors’ culinary authority. The two cookbooks analysed here are written by—and, arguably, primarily aimed at—women, and this paper contends that their authors use narrative to reclaim a powerful sense of feminine ownership. While they are just two of many contemporary cookbooks that arguably strive to achieve similar ends (Tessa Kiros’s 2010 Apples for Jam, and Monica Trapaga’s 2010 She’s Leaving Home, are two recent Australian examples), Dahl’s and Lawson’s texts are apt case studies: both are commercially successful and their authors occupy a significant space in the public imagination, particularly where women’s identity is concerned. Dahl is a former plus-size model who lost weight “rather publicly” (Dahl xi) and whose book charts the evolution of her complex relationship with food; Lawson’s books and cooking programs have seen her variously characterised as “prefeminist housewife … antifeminist Stepford wife … the saviour of downshifting middle-class career women and as both the negative and positive product of postfeminism” (Hollows 180). Dahl and Lawson narrate the knowledge and skill of their recipes in a context of experiences and memories related to their lives as mothers and/or partners and food professionals, which underscores the weight of their kitchen authority as women while still maintaining that rather mythic connection between the feminine and domestic. Sequence The introductory pages and internal structure of each book reflects both its author’s intentions, and the persona they construct within the text that speaks directly to readers. It also foregrounds the link between women and food. The link between this domesticity and feminine identity is explicit in both texts. Miss Dahl’s Voluptuous Delights is a food memoir as well as a cookbook, and Dahl’s use of narrative sequence makes this clear: in her introduction, she reveals that “the second word I ever spoke was ‘crunch,’ muddled baby-speak for fudge” (viii). Interspersed between the book’s four sections (Autumn, Winter, Spring and Summer) are essays that chart Dahl’s evolving relationship with food and cooking, framed particularly in terms of her female identity: they detail her progression from a plump-cheeked teenager unhappy about carrying a few extra pounds to a woman at ease with her body and appetite who cannot “get away from the siren call of the kitchen” (15). Dahl often introduces her recipes with reference to their personal significance, particularly in relation to cooking as an act of love or communication—“Musician’s Breakfast,” for example, is so named because it is a favourite of her boyfriend, jazz musician Jamie Cullum (152). Lawson’s book is ostensibly more practical—her chapters are arranged according to types of dish, such cakes or biscuits. She also explicitly summons the familiar vision of the woman at home in the kitchen. Although she draws on the clichéd image of the domestic goddess, her preface seems aimed at making female readers feel at ease. For example, she writes that she does not want her audience to think of baking as a “land you do not inhabit” or to “confine you to kitchen quarters” (vii); rather, her aim is to make them “feel” (vii) like a domestic goddess rather than be one, an act that might be interpreted as an attempt to put a more contemporary spin on a dated archetype.Nonetheless, throughout Lawson’s book, the prose that introduces her recipes draws on those associations between baking and homely comfort: cake-baking “implies effort and domestic prowess,” (2) but is easy in practice, and baking loaf cakes makes one feel “humble and worthy and brimming with good things” (5). Again, Lawson’s own experience—particularly as a busy mother and career woman—shapes the introductory words for each recipe and establishes a sense of her authorial persona in relation to broader social constructs of food and the feminine. Description Vivid, evocative descriptions of food and food-related memories and experiences are an integral part of what makes these texts narratively engaging, and how they continue to enforce and idealise that connection between the feminine and the domestic. Both authors frequently describe food in terms that create concepts of cosy domesticity: Lawson describes baking as a metaphor for “familial warmth” (vii), and for Dahl, roast chicken “is Sunday ... there’s something about that smell wafting through the house” (53). A distinct sense of nostalgia is at play here; as Linda Hutcheon observes, one can “look and reject” or “look and linger longingly” (online), and this apparent yearning to return to simpler times summons a “mythical past of comfort and stability” (Duruz 57), seemingly embodied in images of wholesome foods cooked for us by mothers or wives. This idea of food as emotionally nourishing is frequently related in terms of the author’s duties as domestic providers and as women who occasionally—and by choice—inhabit traditional female roles. However, Lawson and Dahl reveal the tensions between past and present: while they embrace the pleasures of old-fashioned domesticity, they do not—and cannot—wholly recreate it. Instead, they must balance it with other priorities, making space for a more liberated and contemporary female home cook who can choose to occupy a place at the stove. Of course, the title of Lawson’s book—and the wording of its preface, quoted at the start of this paper—refers explicitly to the old-fashioned idea of the domestic goddess. But Lawson aims to update or demystify the concept for today’s busy women: she expresses the view that many have become “alienated” from the domestic sphere, but that “it can actually make us feel better to claim back some of that space, make it comforting rather than frightening” (vii). While she summons very traditional images—for example, “a pie is just what we all know should be emanating from the kitchen of a domestic goddess” (81)—she also puts a new spin on them, perhaps in an attempt to make them seem less patronising or intimidating while still enforcing how satisfying it can be to feel like a domestic goddess without slaving in the kitchen. She frequently emphasises the simplicity of her recipes and describes food in terms of the pleasure it brings the cook as well as those for whom she is cooking: while baking bread brings “crucial satisfaction, that warm feeling of homespun achievement,” she also notes that “my way of baking bread is designed to fit more easily into the sort of lives we lead” (291). As Hollows notes, the “Nigella cooking philosophy” is that “cooking should be pleasurable and should start from the desire to eat” (182), a concept far removed from the traditional construct of women as “providers of food for others” who have difficulty “experiencing food as pleasurable themselves, particularly in a domestic context” (184). Dahl also emphasises pleasure, ease and practicality, and describes food in terms of its nostalgic and emotional associations, particularly in relation to her female relatives. As a child, Dahl attended boarding school, and on the last night of her holidays—before she returned to terrible school food, with its “gristly stew, grey Scotch eggs and collapsed beetroot” (7)—her mother would cook her a special dinner, and she remembers feasting on “roast chicken wrapped in bacon with tarragon creeping wistfully over its breast, potatoes golden and gloriously crispy on the outside and flaking softly from within” (7). Although Dahl’s mother taught her the importance of “cooking for your man,” this very old-fashioned idea is presented in a tongue-in-cheek way, with the caveat, “woe betide any man who doesn’t appreciate it” (73). Again, the act of cooking is described as something that brings intense domestic satisfaction, and represents a conscious choice to relive the past in a contemporary, and perhaps slightly ironic (albeit still enjoyable), context: making tawny granola “makes one feel very fifties housewife, because as it bakes the house is bathed in a warm cinnamon-y glow” (25). Such descriptions of food and cooking are both evocative and romantic, even while they emphasise convenience and practicality. This perhaps reflects the realities of modern life for busy modern women juggling work and family commitments; it emphasises that tension between the ideal of the past and the reality of the present. While Lawson and Dahl still idealise the correlation between women, food and the domestic, drawing on familiar and perhaps comforting associations, they nonetheless manage to make their cookbooks both narratively engaging and culturally revealing: as Susan Leonardi points out, recipes are an exchange between reader and writer, and they require “a recommendation, a context ... a reason to be” (340). Descriptions of memories, emotions and sensations in relation to cooking and women’s identity help to create a particular narrative “storyworld” (Herman 9) or familiar context; the authors here describe experiences that are likely to resonate with female readers to enforce that connection between women and their kitchens. Since they draw so heavily on their authors’ lives, these cookbooks are almost forms of life narrative; by drawing on their own recollections to appeal to readers and share recipes, their narrators are “performing several rhetorical acts, justifying their own perceptions, conveying cultural information” (Smith and Watson 10). This is a fundamental aspect of narrative voice: who “speaks” in the text (Genette 185). Voice Both authors use their identity as women and home cooks to enforce the feminine/domestic connection and relate to their audience. They each create a distinct narrating voice or authorial persona that speaks directly to readers and aims to win their trust and sympathy. Lawson positions herself as a busy mother and wife; Dahl focuses on her evolving relationship with food, particularly in the context of her former career as a plus-size model and her subsequent weight loss. Both women share cooking anecdotes, and often, significantly, their kitchen failures—Dahl’s recipe for asparagus soup reveals that one of her attempts at trialling the recipe resulted in soup spurting from her blender, “covering me, the walls and floor in a thick slick of green” (168). Both women write as passionate home cooks: what seems most important is a love of food and what it represents, the joy of cooking as much as the culinary skill it may require. Lanser writes that “the authority of a given voice or text is produced from a conjunction of social and rhetorical properties” (6), and both Dahl’s and Lawson’s authority comes from their domestic experience and their roles as women who cook for themselves and for the pleasure it brings them as much as for their families. Although they advocate this sense of enjoyment over duty, there remains in each text a distinctly romantic idea of what it means to cook; specifically, to be a female home cook. This is most explicit in how Dahl and Lawson narrate their texts, particularly in terms of the confidences they share. Both confess their shortcomings in relaxed and informal tones: Lawson writes about an occasion when she found herself in “dire straits” when trying to make marzipan (6), and confesses to being a “negligent mother” because all she does with her children is cook with them (209); Dahl says that she “would plant tarragon in my garden in London, but the neighbour’s cat is partial to peeing on every herb I have” (58). Both imbue their actual recipes, as well as the prose that surrounds them, with a very personal tone, offering tips and advice drawn from their own experience: Dahl advises readers to “go by instinct and taste, adding or taking away as you want” (52) and Lawson suggests leaving “a decent amount of uncooked cake batter in the bowl for scraping-out purposes” (183). Conclusion Pasupathi’s work on constructing identity in storytelling, and how recounting stories becomes a way of establishing a sense of self, is particularly relevant here; a similar concept is evident in cookbooks. Lawson and Dahl choose familiar life stories and situations that readers, (particularly female), might recognise and engage with. As Fludernik observes, narrators are integral to narrative texts, since they help to establish narrative meaning and interest (An Introduction to Narratology). The narrating voices of Dahl’s and Lawson’s cookbooks foreground their identity as women and home cooks to highlight experiences and issues relevant to women. All three of the narrative strategies discussed in this paper contribute to this. Both texts do, to a degree, enforce cultural stereotypes—most obviously, the idea of a woman’s kitchen as a kind of natural habitat—but they also emphasise the pleasures of cooking. Despite the clichéd imagery and heavy nostalgia, Dahl’s and Lawson’s appropriation of the domestic goddess image exposes and reconfigures the contradictions between the idealised past and more liberated present; offering female readers and cooks “beguiling possibilities … for re-enactment” (Duruz 57). Lawson and Dahl’s use of narrative strategies not only makes their texts more engaging to read, but reflects the social and cultural relevance of cookbooks, and how they can embody and reshape our engrained values and ideas. In their own way, they seek to affirm the female domestic experience and position it as something celebratory rather than oppressive. Perhaps no one puts it so aptly as Lawson: “I know the idea of being in the kitchen faffing around with bottles and jars and hot pans might seem confining to many, but honestly, I have found it liberating. The sense of connectedness you get, with your kitchen, your home, your food, is the very opposite of constraint” (334). This seems an apt reflection of cookbooks’ narrative power and ability to explore fundamental social and cultural ideas; they engage us, inspire us and entertain us. References Bal, Mieke. Introduction to the Theory of Narrative. Toronto: U of Toronto P, 1997. Bower, Anne. “Romanced by Cookbooks.” Gastronomica 4.2 (2004): 35–42. Dahl, Sophie. Miss Dahl’s Voluptuous Delights. London: HarperCollins, 2009. Duruz, Jean. “Haunted Kitchens: Cooking and Remembering.” Gastronomica 4.1 (2004): 57–68. Fludernik, Monica. An Introduction to Narratology. New York: Routledge, 2009. Fludernik, Monica. “Histories of Narrative (II): From Structuralism to the Present.” A Companion to Narrative Theory. Eds. James Phelan and Peter J. Rabinowitz. Hoboken: Blackwell, 2005. Blackwell Reference Online. 4 Apr. 2013. Genette, Gerard. Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. New York: Cornell UP, 1980. Gvion, Liora. “What’s Cooking in America? Cookbooks Narrate Ethnicity: 1850–1990.” Food, Culture, and Society 7.1 (2004): 53–76. Herman, David. Story Logic: Problems and Possibilities of Narrative. Lincoln: U of Nebraska P, 2002. Hollows, Joanne. “Feeling Like a Domestic Goddess: Postfeminism and Cooking.” European Journal of Cultural Studies 6.2 (2003): 179–202. Hutcheon, Linda. “Irony, Nostalgia, and the Postmodern.” U of Toronto English Library, 1998. 21 Oct. 2010. ‹http://www.library.utoronto.ca/utel/criticism/hutchinp.html›. Lanser, Susan. Fictions of Authority: Women Writers and Narrative Voice. New York: Cornell UP, 1992. Lawson, Nigella. How to be a Domestic Goddess. London: Chatto & Windus, 2000. Leonardi, Susan. “Recipes for Reading: Summer Pasta, Lobster á la Riseholme, and Key Lime Pie.” Modern Language Association 104.3 (1989): 340–47. Lupton, Deborah. “Food and Emotion.” The Taste Culture Reader: Experiencing Food and Drink. Ed. Carolyn Korsmeyer. Oxford: Berg, 2005. 317–24. Mintz, Sidney. “Sweetness and Meaning.” The Taste Culture Reader: Experiencing Food and Drink. Ed. Carolyn Korsmeyer. Oxford: Berg, 2005. 110–22. Pasupathi, Monisha. “Silk from Sow’s Ears: Collaborative Construction of Everyday Selves in Everyday Stories.” Identity and Story: Creating Self in Narrative. Ed. Dan P. McAdams, Ruthellen Josselson, and Amia Lieblich. Vol. 4. Washington, DC: APA, 2006. 129–50. Prince, Gerald. Narratology: The Form and Function of Narrative. Berlin: Mouton, 1982. Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide to Interpreting Life Narratives. Minneapolis: U of Minnesota P, 2001.