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Journal articles on the topic 'Dickens, Charles, Oral reading'

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Published: 4 June 2021

Last updated: 5 February 2022

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1

Hollington, Michael. "Charles Dickens: The Woolf Afterlife." Victoriographies 10, no. 3 (2020): 292–310. http://dx.doi.org/10.3366/vic.2020.0396.

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This essay begins with a survey of attitudes towards Charles Dickens in the extended Stephen family, as these were inherited by the modernist writer Virginia Woolf. On the one hand, there is the strongly negative view of her Uncle Fitzy (Sir James Fitzjames Stephen), and the lukewarm, rather condescending opinion of her father Leslie Stephen. On the other, there is the legacy of enthusiastic attention and appropriation from William Makepeace Thackeray's two daughters – her aunt Anne Thackeray Ritchie and (posthumously) Min, Leslie Stephen's first wife. In the second section I survey Woolf's cr

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Alzouabi, Lina. "A Reading of Charles Dickens' Hard Times (1854) As a Crime Novel." International Journal of Linguistics, Literature and Translation 4, no. 4 (2021): 193–99. http://dx.doi.org/10.32996/ijllt.2021.4.4.21.

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This study explores how Charles Dickens presents a panoramic picture of social and moral crimes, criminals, victims and the causes as well as consequences of criminality in his novel Hard Times (1854). By employing Collins' Dickens and Crime (1964), the article provides a reading of Dickens' Hard Times as a crime novel, arguing that this novel is not only a social commentary on England in the Victorian era for the purpose of achieving social reform at the time. It is also a crime novel, portraying different types of crimes with various motives and criminals from different backgrounds and class

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Han, Carrie Sickmann. "PICKWICK'S OTHER PAPERS: CONTINUALLY READING DICKENS." Victorian Literature and Culture 44, no. 1 (2016): 19–41. http://dx.doi.org/10.1017/s1060150315000406.

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While carefully crafting a valentine to his would-be-lover Mary, Sam Weller finishes rather abruptly, and his father, looking over his shoulder, asks, “That's rayther a sudden pull up, ain't it, Sammy?” Sam's response emblematizes the driving force of the serial novel: “Not a bit on it. . . she'll vish there wos more, and that's the great art o' letter writin'” (344; no. XII, ch. XXXIII). Charles Dickens's great art of serial writing aimed to leave his readers repeatedly wishing there was more: more pages, more plot, more world, and above all, more time with their favorite characters. This des

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Barzilai, Shuli. "THE BLUEBEARD BAROMETER: CHARLES DICKENS AND CAPTAIN MURDERER." Victorian Literature and Culture 32, no. 2 (2004): 505–24. http://dx.doi.org/10.1017/s1060150304000634.

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“You mustn't marry more than one person at a time, may you, Peggotty?”“Certainly not,” says Peggotty, with the promptest decision.“But if you marry a person, and the person dies, why then you may marry another person, mayn't you, Peggotty?”“You MAY,” says Peggotty, “if you choose, my dear. That's a matter of opinion.”—David Copperfield(1849–50)THE FIRST TIME I HEARD OF CAPTAIN MURDERERwas in the Jerusalem Theater many years ago when the Welsh actor Emlyn Williams (1905–87) gave a reading of scenes from the works of Charles Dickens. Williams's performance was a recreation of the initiative of D

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Finley, Susan, and Morgan A. Parker. "Children Talk to Charles Dickens about Their Own “Hard Times”." International Review of Qualitative Research 4, no. 4 (2011): 403–15. http://dx.doi.org/10.1525/irqr.2011.4.4.403.

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The focus of this research narrative is children's perceptions of social class and their experiences of poverty as a social identity. Participatory action research that includes narrative reflection is demonstrated for its capacity and potential as a source of agency that may contribute to youths' academic, social, and political emancipation. In this research we analyze perceptions and attitudes about social class as these perceptions and attitudes are expressed by a group of children who are economically poor and who reside in an urban area in the Pacific Northwest. Our purpose has been to en

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Ahmad Bhat, Zubair. "Resistance in Literature: A Close Reading of Charles Dickens’ Hard Times and Little Dorrit." International Journal of Applied Linguistics and English Literature 8, no. 2 (2019): 120. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.120.

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Literature is the reflection of life or society. Whatever is going on in the society it reflects all. It may be any aspect of the society such as, political, historical, economical, religious, educational or administrational. All these driving forces of the society are being reflected by the literature. Literature on the whole encompasses all these parameters of the society. Resistance is always present in literature or in its genres. It may be present least or most, but it depends, whether it is expressed or not. From the evolution of English literature, English was mainly written in the genr

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Bell, Emily. "Writing the Death of Dickens." Victoriographies 10, no. 3 (2020): 270–91. http://dx.doi.org/10.3366/vic.2020.0395.

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Through discussion of the author's final hours, final words, and final moments, this article enacts a metabiographical reading of the ways in which the death of Dickens has been written. It shows how major biographies from the 1870s to the present, including John Forster's Life of Charles Dickens (1872–4), reinforce a particular narrative, and how more radical representations such as Claire Tomalin's The Invisible Woman (1991) seek to disrupt it. These accounts are discussed alongside lesser-known life writing and representations, from obituaries and the earliest posthumous biographies to fami

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Doherty, Ruth. "‘Blest’ or ‘t’othered’: Alternative Graveyards in Bleak House, Reynolds, and Walker." Victoriographies 8, no. 3 (2018): 267–89. http://dx.doi.org/10.3366/vic.2018.0318.

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This article proposes an alternative reading of Charles Dickens's Bleak House (1852–3), by attempting to recreate the reading experience of the first audience of this now well-studied novel. A comparison is made between key scenes in Bleak House and similar scenes in the first volume of George William Macarthur Reynolds's The Mysteries of London (1844), to demonstrate the differing literary styles of these two popular writers. The article draws on contemporary non-fiction, including George Alfred Walker's Gatherings from Grave Yards (1839) and several news articles, as well as more recent scho

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Buckland, Adelene. "“THE POETRY OF SCIENCE”: CHARLES DICKENS, GEOLOGY, AND VISUAL AND MATERIAL CULTURE IN VICTORIAN LONDON." Victorian Literature and Culture 35, no. 2 (2007): 679–94. http://dx.doi.org/10.1017/s1060150307051716.

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DESPITE THE WELL-ESTABLISHED CONNECTIONSbetween Dickens's novels and Victorian popular entertainment, and between Victorian show business and the display and dissemination of science, critics have not yet explored the possible links between scientific shows and Dickens's fiction. Work on Dickens and science has proliferated since George Levine's work inDarwin and the Novelists, but its central problem has been the fact that, as Francis O’Gorman described it, Dickens's scientific reading was “nugatory” (252). The most well-represented branch of science on his bookshelves was natural history; in

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WORTHINGTON, MARTIN. "On Names and Artistic Unity in the Standard Version of the Babylonian Gilgamesh Epic." Journal of the Royal Asiatic Society 21, no. 4 (2011): 403–20. http://dx.doi.org/10.1017/s1356186311000423.

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Great is the importance of names in literature. For modern audiences, good names are an important and enjoyable part of the experience of reading, and many authors have delighted their readers with new creations or especially apposite matches – one could cite examples as varied as J. K. Rowling (Malfoy, Dumbledore, Snape), Aldous Huxley (Tantamount, Burlap, Spandrill), Charles Dickens (Pickwick, Sweedlepipe, Honeythunder), Andrea Camilleri (Catarella, Montalbano, Boneti-Alderighi), or Franz Kafka (K.).

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Auyoung, Elaine. "Standing Outside Bleak House." Nineteenth-Century Literature 68, no. 2 (2013): 180–200. http://dx.doi.org/10.1525/ncl.2013.68.2.180.

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This essay argues that Charles Dickens’s imaginative interest in barriers to knowledge and perception throughout Bleak House (1852–53) amplifies and attunes us to the reader’s position of exteriority with respect to the implied fictional world. Whereas novel readers readily describe the act of reading in terms of metaphoric transport to a fictional world, Dickens refuses to obscure the ever-present divide between readers and the absent objects of their sustained attention. In particular, he exposes the reader’s surprisingly limited ability to “fill in” components of the fictional world that th

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Alshammari, Hammad Ali, and Elsayed Abdalla Ahmed. "Using an English Novel to Improve Saudi EFL Reading Skills." Education and Linguistics Research 5, no. 2 (2019): 33. http://dx.doi.org/10.5296/elr.v5i2.14710.

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This mixed-methods study investigated10 Saudi EFL university students’ perceptions of the use of authentic literary materials in an intensive three-week reading intervention involving Charles Dickens’ novel Great Expectations. Participants were equally divided into an experimental group and a control group. The study collected quantitative data from a pre-test and post-test to measure reading progress and collected qualitative data through semi-structured interviews. The results showed participants held positive attitudes about using interactive instruction with authentic literary texts, such

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Zadrozny, Sara. "Women’s Ageing as Disease." Humanities 8, no. 2 (2019): 75. http://dx.doi.org/10.3390/h8020075.

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In the medical humanities, there has been a growing interest in diagnosing disease in fictional characters, particularly with the idea that characters in Charles Dickens’s novels may be suffering from diseases recognised today. However, an area that deserves greater attention is the representation of women’s ageing as disease in Victorian literature and medical narratives. Even as Victorian doctors were trying to cure age-related illnesses, they continued to employ classical notions of unhealthy female ageing. For all his interest in medical matters, the novelist Charles Dickens wrote about ol

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Mahlberg, Michaela, Kathy Conklin, and Marie-Josée Bisson. "Reading Dickens’s characters: Employing psycholinguistic methods to investigate the cognitive reality of patterns in texts." Language and Literature: International Journal of Stylistics 23, no. 4 (2014): 369–88. http://dx.doi.org/10.1177/0963947014543887.

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This article reports the findings of an empirical study that uses eye-tracking and follow-up interviews as methods to investigate how participants read body language clusters in novels by Charles Dickens. The study builds on previous corpus stylistic work that has identified patterns of body language presentation as techniques of characterisation in Dickens (Mahlberg, 2013). The article focuses on the reading of ‘clusters’, that is, repeated sequences of words. It is set in a research context that brings together observations from both corpus linguistics and psycholinguistics on the processing

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Esmail, Jennifer. "“I Listened With My Eyes”: Writing Speech and Reading Deafness in the Fiction of Charles Dickens and Wilkie Collins." ELH 78, no. 4 (2011): 991–1020. http://dx.doi.org/10.1353/elh.2011.0039.

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Logan, Peter Melville. "PRIMITIVE CRITICISM AND THE NOVEL: G. H. LEWES AND HIPPOLYTE TAINE ON DICKENS." Victorian Literature and Culture 46, no. 1 (2018): 125–42. http://dx.doi.org/10.1017/s1060150317000353.

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In a controversial article onthe life and fiction of Charles Dickens, George H. Lewes ponders the inexplicable preference of readers for the novelist's too-simplistic characters over the more complex characters of other writers. He finds an answer in the primitive reaction to fine art: “To a savage there is so little suggestion of a human face and form in a painted portrait that it is not even recognized as the representation of a man” (“Dickens” 150). The implication, it would seem, is that readers turn to Dickens because they are similarly incapable of appreciating more refined modes of art.

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Badić, Edin. "An Analysis of Paratexts in the (Re)translations of Oliver Twist into Croatian." Libri et liberi 9, no. 1 (2020): 37–59. http://dx.doi.org/10.21066/carcl.libri.2020.1.3.

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The aim of the present study is to analyse paratextual elements in Croatian (re)translations of Charles Dickens’ classic social novel Oliver Twist; or, The Parish Boy’s Progress (1837–1839). We will explore the level of paratextual (in)visibility of translators in the (re)translations of Oliver Twist and observe how their (in)visibility might affect the reading and interpretation of the novel. The fact that Oliver Twist has been on the reading lists for Croatian primary schoolers ever since the early 1950s may account for the intense interest in the novel on the part of Croatian publishers. Th

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Banerjee, Sukanya. "Writing Bureaucracy, Bureaucratic Writing." Nineteenth-Century Literature 75, no. 2 (2020): 133–58. http://dx.doi.org/10.1525/ncl.2020.75.2.133.

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Sukanya Banerjee, “Writing Bureaucracy, Bureaucratic Writing: Charles Dickens, Little Dorrit, and Mid-Victorian Liberalism” (pp. 133–158) In its famed representation of the Circumlocution Office, Charles Dickens’s Little Dorrit (1857) is widely recognized as satirizing bureaucracy. Arguing instead that the novel proffers a more nuanced perspective on bureaucracy, this essay situates Dickens’s depiction of the Circumlocution Office amid mid-Victorian debates on liberalism. More specifically, the essay makes note of the tension between ascendant ideals of representative government and the acknow

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O'Farrell, Mary Ann. "Blindness Envy: Victorians in the Parlors of the Blind." PMLA/Publications of the Modern Language Association of America 127, no. 3 (2012): 512–25. http://dx.doi.org/10.1632/pmla.2012.127.3.512.

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Despite their tendency to metaphorize and disembody blindness, the sighted have used it to represent the body's experience of coming to knowledge in a world of things. The vibrant intensity of the attachment to things in Victorian literature makes this writing a rich site for exploring the way represented blindness comes to figure what a body articulated by materiality knows and does not know of itself and of the world. Reading works by Charles Dickens and Wilkie Collins, among others, this essay accounts for an impious strain in representations of blindness and examines how the Victorian lite

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Younisi, Ibrahim, and Sina Rahmani. "Two Themes in Bleak House (1962)." PMLA/Publications of the Modern Language Association of America 133, no. 2 (2018): 437–42. http://dx.doi.org/10.1632/pmla.2018.133.2.437.

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Surprise best seller fails to capture the triumph of azar nafisi's reading lolita in tehran (2003). This “memoir in books” recounting the cultural politics of postrevolutionary Iran—not exactly the subject matter that typically sends a book to the top of the literary charts—turned out to be “a bookseller's dream” (Burwell 143). It sold millions, was translated into thirty-two languages, and—perhaps most impressively—generated a critical lovefest that united neocon hawks like Bernard Lewis with progressive luminaries like Margaret Atwood. Far less surprising, however, was the familiar canard of

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Stolarski, Łukasz. "Pitch Patterns in Vocal Expression of 'Happiness' and 'Sadness' in the Reading Aloud of Prose on the Basis of Selected Audiobooks." Research in Language 13, no. 2 (2015): 140–61. http://dx.doi.org/10.1515/rela-2015-0016.

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The primary focus of this paper is to examine the way the emotional categories of “happiness” and “sadness” are expressed vocally in the reading aloud of prose. In particular, the two semantic categories were analysed in terms of the pitch level and the pitch variability on a corpus based on 28 works written by Charles Dickens. passages with the intended emotional colouring were selected and the fragments found in the corresponding audiobooks. They were then analysed acoustically in terms of the mean F0 and the standard deviation of F0. The results for individual emotional passages were compar

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Cunningham, Lawrence S. "Four American Catholics and their Chronicler." Horizons 31, no. 1 (2004): 113–17. http://dx.doi.org/10.1017/s0360966900001110.

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When Dorothy Day decided to write a history of the Catholic Worker movement she drew for inspiration from the writings she knew and loved intimately: the novels of Charles Dickens; the radical reportage of activists like Carlo Levi (Christ Stopped at Eboli), George Orwell (Down and Out in Paris and London), and Danilo Dolci (Report from Palermo). She also loved Ignazio Silone's antifascist novel Bread and Wine. Towering over all of these writers, however, were the Russians and more particularly the late Leo Tolstoy of Resurrection and the profound, fictive world of Fydor Dostoevski whose “fool

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Hafizah, Fani, Syahron Lubis, and Muhizar Muchtar. "INTRALINGUAL TRANSLATION: A SIMPLIFIED VERSION OF THE ORIGINAL NOVEL DAVID COPPERFIELD." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (2020): 353–57. http://dx.doi.org/10.30743/ll.v4i2.2767.

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The objectives of this project are to describe the intralingual translation techniques used in translating the original novel David Copperfield into a simplified version and to find out the reasons why the translator made a simplified version of the original novel David Copperfield written by Charles Dickens. This study used the descriptive qualitative method. The data were collected by reading the novel, comparing the original and simplified texts of David Copperfield, identifying, classifying, counting, and concluding the results. The theory of Jakobson was used to analyze the data related t

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Munfangati, Rahmi, and Desi Ramadhani. "Fagin’s Criminal Thought in Charles Dickens’ Oliver Twist." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 8, no. 1 (2020). http://dx.doi.org/10.24256/ideas.v8i1.1351.

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This research aims to reveal Fagin’s criminal thought in Charles Dickens’ Oliver Twist and to examine the factors that influence Fagin’s criminal thought presented in the novel. This research is classified into library research. The subject of the research is Oliver Twist, Charles Dickens’ fiction novel. The novel is used as the primary source, while books, journals, and articles related to criminal thought theories in psychology were taken as the secondary source. A psychological approach is applied to analyze the data. The collected data were analyzed qualitatively. In analyzing the data, th

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Kreilkamp, Ivan. "Without Parents or Pedigree: Neo-Victorian Adaptation as Disavowal or Critique." Articles, no. 63 (June 16, 2014). http://dx.doi.org/10.7202/1025620ar.

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It has become a truism that contemporary multi-season TV dramas are inheritors of the methods and aims of Victorian serial fiction, or, as theNew York Timeseditorial page put it in 2006, that if “Charles Dickens were alive today, he would watchThe Wire, unless, that is, he was already writing for it.” While not absolutely denying the validity of such assertions, this essay reconsiders them. Sergei Eisenstein’s 1949 essay “Dickens, Griffith, and the Film Today," now alocus classicusfor thinking about the links between nineteenth-century fiction and twentieth- and twenty-first-century cinematic

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Stromberg, Isabelle. "Transcending the Elements: the Meaning in the Mist and Stars in Charles Dickens’s Great Expectations." Meliora 1, no. 1 (2021). http://dx.doi.org/10.52214/meliora.v1i1.7931.

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In this senior thesis, I seek to explore the meaning of the mist and the stars in Charles Dickens's Great Expectations. I argue that through observation of the mist and the stars as an entrance point to the text, we as readers are able to expand our discussion of the text to incorporate other fundamental aspects of the story. I open with a contextualization of the mist and the stars in Dickens’ previous works, including Bleak House, Oliver Twist, and Sketches by Boz. I argue that the mist stands as a symbol for Pip’s uncertainty about the future and his place in the world, while the stars repr

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Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se

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"Abstracts: Reading & writing." Language Teaching 40, no. 4 (2007): 345–55. http://dx.doi.org/10.1017/s0261444807004600.

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07–562Al-Jarf, Reima Sado (King Saud U, Saudi Arabia; reima2000_sa@yahoo.com), Processing of advertisements by EFL college students. The Reading Matrix (Readingmatrix.com) 7.1 (2007), 132–140.07–563Alkire, Scott (San Jose State U, California, USA; scott.alkire@sjsu.edu) & Andrew Alkire, Teaching literature in the Muslim world: A bicultural approach. TESL-EJ (http://www.tesl-ej.org) 10.4 (2007), 13 pp.07–564Belcher, Diane (Georgia State U, USA; dbelcher1@gsu.edu), Seeking acceptance in an English-only research world. Journal of Second Language Writing (Elsevier) 16.1 (2007), 1–22.07–565Bell

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Mac Con Iomaire, Máirtín. "Towards a Structured Approach to Reading Historic Cookbooks." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.649.

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Introduction Cookbooks are an exceptional written record of what is largely an oral tradition. They have been described as “magician’s hats” due to their ability to reveal much more than they seem to contain (Wheaton, “Finding”). The first book printed in Germany was the Guttenberg Bible in 1456 but, by 1490, printing was introduced into almost every European country (Tierney). The spread of literacy between 1500 and 1800, and the rise in silent reading, helped to create a new private sphere into which the individual could retreat, seeking refuge from the community (Chartier). This new technol

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Cashman, Dorothy Ann. "“This receipt is as safe as the Bank”: Reading Irish Culinary Manuscripts." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.616.

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Introduction Ireland did not have a tradition of printed cookbooks prior to the 20th century. As a consequence, Irish culinary manuscripts from before this period are an important primary source for historians. This paper makes the case that the manuscripts are a unique way of accessing voices that have quotidian concerns seldom heard above the dominant narratives of conquest, colonisation and famine (Higgins; Dawson). Three manuscripts are examined to see how they contribute to an understanding of Irish social and culinary history. The Irish banking crisis of 2008 is a reminder that comments

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Mac Con Iomaire, Máirtín. "Coffee Culture in Dublin: A Brief History." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.456.

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IntroductionIn the year 2000, a group of likeminded individuals got together and convened the first annual World Barista Championship in Monte Carlo. With twelve competitors from around the globe, each competitor was judged by seven judges: one head judge who oversaw the process, two technical judges who assessed technical skills, and four sensory judges who evaluated the taste and appearance of the espresso drinks. Competitors had fifteen minutes to serve four espresso coffees, four cappuccino coffees, and four “signature” drinks that they had devised using one shot of espresso and other ingr

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Franks, Rachel, and Simon Dwyer. "Build." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1236.

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Rowan Moore, in his work Why We Build: Power and Desire in Architecture, notes that “most people know that buildings are not purely functional, that there is an intangible something about them that has to do with emotion” (16). Emotion is critical to why and how we build. Indeed, there is a basic human desire to build—to leave a mark on the landscape or on our society. This issue of M/C Journal unpacks this idea of emotion, examining the functional and the creative in the design process, for a range of building projects, from the tangible: building transport infrastructure, exhibition centre,

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Neilsen, Philip Max, and Ffion Murphy. "The Potential Role of Life-Writing Therapy in Facilitating ‘Recovery’ for Those with Mental Illness." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.110.

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IntroductionThis article addresses the experience of designing and conducting life-writing workshops for a group of clients with severe mental illness; the aim of this pilot study was to begin to determine whether such writing about the self can aid in individual ‘recovery’, as that term is understood by contemporary health professionals. A considerable amount has been written about the potential of creative writing in mental health therapy; the authors of this article provide a brief summary of that literature, then of the concept of ‘recovery’ in a psychology and arts therapy context. There

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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of

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"Language teaching." Language Teaching 36, no. 2 (2003): 120–57. http://dx.doi.org/10.1017/s0261444803211939.

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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

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Fineman, Daniel. "The Anomaly of Anomaly of Anomaly." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1649.

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‘Bitzer,’ said Thomas Gradgrind. ‘Your definition of a horse.’‘Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs, too. Hoofs hard, but requiring to be shod with iron. Age known by marks in mouth.’ Thus (and much more) Bitzer.‘Now girl number twenty,’ said Mr. Gradgrind. ‘You know what a horse is.’— Charles Dickens, Hard Times (1854)Dickens’s famous pedant, Thomas Gradgrind, was not an anomaly. He is the pedagogical manifestation of the rise of quantification in modernism that was t

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Seale, Kirsten, and Emily Potter. "Wandering and Placemaking in London: Iain Sinclair’s Literary Methodology." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1554.

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Iain Sinclair is a writer who is synonymous with a city. Sinclair’s sustained literary engagement with London from the mid 1960s has produced a singular account of place in that city (Bond; Baker; Seale “Iain Sinclair”). Sinclair is a leading figure in a resurgent and rebranded psychogeographic literature of the 1990s (Coverley) where on-foot wandering through the city brings forth narrative. Sinclair’s wandering, materialised as walking, is central to the claim of intimacy with the city that underpins his authority as a London writer. Furthermore, embodied encounters with the urban landscape

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Poletti, Anna, and Julie Rak. "“We’re All Born Naked and the Rest Is” Mediation: Drag as Automediality." M/C Journal 21, no. 2 (2018). http://dx.doi.org/10.5204/mcj.1387.

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This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of

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Lymn, Jessie. "Migration Histories, National Memory, and Regional Collections." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1531.

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IntroductionThis article suggests extensions to the place of ‘national collections’ of Australia’s migration histories, and considers the role of regional libraries and museums in collecting, preserving, and making accessible the history of migration. The article describes a recent collaboration between the Bonegilla Migrant Experience site, the Albury LibraryMuseum and the regionally-based Charles Sturt University (CSU) to develop a virtual, three-dimensional tour of Bonegilla, a former migrant arrival centre. Through this, the role of regional collections as keeping places of migration memor

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Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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Melleuish, Greg. "Taming the Bubble." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2733.

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When I saw the word ‘bubbles’ my immediate thought went to the painting by John Millais of a child blowing bubbles that subsequently became part of the advertising campaign for Pears soap. Bubbles blown by children, as we all once did, last but a few seconds and lead on naturally to the theme of transience and constant change. Nothing lasts forever, even if human beings make attempts to impose permanence on the world. A child’s disappointment at having a soap bubble burst represents a deep human desire for permanence which is the focus of this article. Before the modern age, human life could b

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Brien, Donna Lee. "Disclosure in Biographically-Based Fiction: The Challenges of Writing Narratives Based on True Life Stories." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.186.

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As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in thei

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Tiffee, Sean. "The Rhetorical Alternative in Neurocinematics." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1201.

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IntroductionIn 2008, researchers at New York University’s Computational Neuroimaging Laboratory challenged our contemporary understanding of audience with an alternative approach to engaging some of the most essential questions regarding film consumption. The study itself used a functional magnetic resonance imaging (fMRI) scanner during the “free viewing of films” allowing researchers the opportunity to see which sections of the brain are activated during certain parts of the viewing (Hasson et al. 2). In an effort to overcome limitations of fMRI imaging, the researchers further utilized an i

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Brien, Donna Lee. "Bringing a Taste of Abroad to Australian Readers: Australian Wines & Food Quarterly 1956–1960." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1145.

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IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and in

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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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