Suchergebnisse

Inclusion and exclusion are important issues for sports teams and organisations. This book explores how language use patterns by athletes, coaches, sports fans, and the sports media can create or impede inclusion. Issues of in/exclusion in a range of sports and a variety of socio-cultural contexts are explored, raising important questions for practitioners about how to address matters of in/exclusion that are evident in everyday language use

When we think of language and culture, we often think of our ethnical background, along with the influences from our society, history, media and the people around us. However, through my years here at UCSD, I have learned that there is a different form of language and culture in Costume Design. Culture impacts how we think and language helps us communicate; both play a major part in us understanding one another. For each show that I worked on, I've had to learn a new language to speak to directors, actors, and costume technicians. The language that I am speaking of is not English, French, or Vietnamese but rather it pertains to the choice of words I use to communicate my design. For culture, as a costume designer, we are always balancing between pop culture and historical culture. Kyle Donnelly's adaptation of Taming of the Shrew(d), the play was set in a post-apocalyptic world where a group of women put of plays in exchange for food and water. Donnelly was highly influenced by her environment when she pitched this idea – requests in the department, politics, and the movie, Mad Max: Fury Road, which was very popular at the time. For the development of my design, I researched pop culture's different ideas of post-apocalyptic worlds as well as the history of American stereotypes in women's clothing and how it relates to their job (i.e. the waitress, the businesswoman, the stay-at-home mom). In my pop culture research (film & television, modern art, comics, etc.), depictions of post-apocalypse worlds are often characterized by distressed clothing, dirt, make-shift weapons and recycling, which I used in my overall design. For each individual character's look, historical culture was a major influence – the cut of a business suit jacket, the recognizable color and shape of a waitress uniform. Knowing both pop and historical culture helped me develop the language I needed to clearly convey my ideas.To gain both the director's and actors' confidence, I had to educate myself and used terms they would understand by referencing things they are exposed to in their daily lives – film, art, music. I also focused on character development – the backstory, the mental and physical state, education and more. For example, Hannah Finn's character story was that before the apocalypse, she was a high school dropout working as a waitress at a diner in a small town. She was poor, uneducated but funny and loves to make jokes. She was at work when the apocalypse took place, which explains why she's still in her work uniform. Her character also wears a chest armor made from cans and uses a large ladle that has nails through it as a weapon (to mimic a mace), which was inspired by things she would have found in the diner kitchen. Both the director and the actor loved the visual and emotional story created for the character and understood the concept that I was going for. When presenting to the costume shop, I introduced the general post-apocalyptic theme, however, instead of talking about each character's backstory, we spoke about construction, fit and function of each outfit. The language use when speaking to the shop is much more technical. I had to learn clothing and construction terminology – such as raglan sleeve, a gather, a blind stitch, etc. – to properly articulate my design. Using Finn's costume as an example again, with the technicians, we talked about the history of the style of the uniform and how it should fit, where wear and tear should be, how distressed it should look and how the can apron should be constructed to look like it was home-made. Costume vocabulary and details are very important when it comes to the construction. I was very specific when providing Finn's actions in the play and the technicians offered solutions to some clothing restrictions she was experiencing, such as adding a gusset to the underarm area of the sleeve to give her more room to stretch her arms up. Without knowing the proper language, we would have had a harder time understanding the needs of the show. Marco Barricelli's production of The Green Cockatoo was an entirely different language and culture from Shrew(d). Barricelli and the actors has little to no knowledge of the French period and culture for which this play was written. To make is easier for them to understand, I provided historical reference images, such as paintings and French fashion plates, as well as research from pop culture (the movie, Marie Antoinette) to help familiarize the look. I also focused on colors to differentiate social class, and researched the French body (i.e. how they walk, stand, sit, hold an accessory, etc.) to help the actors fully embrace the period and help create a visual realistic piece for the director. All parties would want to know why I made the choices I made and having that knowledge puts confidence in my answers and modernizing some costume pieces gave comfort to everyone, physically and mentally. For this production, I had seven corsets, two dresses and two men's coats built. The shop's focus was on how clothing was accurately constructed during this time and learning about all the understructure need to create the silhouette of the period. Together, we studied period clothing patterns, use of fabric and embellishments. My design was a mix of historical reference and self-imagination and the language of period clothing helped both the shop and I to fully realize each piece. For Claire Roberson's character, Severine, we exaggerated the width of her hips by using a larger bum roll to emphasize her status and wealth. From the cut of her dress to the intricate beaded lace, along with a wig and white face makeup, all these technical changes helped elevate her character further, while also being semi-period appropriate. A famous quote from Judith Dolan, "We don't copy the period, we use the period." The language and culture of contemporary shows, such as Go. Please. Go, and (w)holeness, in my opinion, are more intricate and challenging. We deal with choosing our own outfits, what accessories to wear and how to do our hair daily, thus it is often difficult to separate fashion from costumes. This proven to be so while working on my most recent production, Revolt. She Said. Revolt Again. The director, Sean Graney, wanted the costumes to be motivated by what the actors wear in their daily life instead of what clothes the character they were playing would wear, thus blurring the line of fashion and costume. I did a background research on all the actors to learn their style while also trying to appeal to Graney's taste in clothes. It was difficult navigating eight different types of styles, all influenced by their different cultures and the language used to speak to men verse speaking to women about clothes also came in to play. However, another important factor was missing (which led to some miscommunication) and that was the generational difference between the director and the actors. Having allowed the actors the freedom to choose their own costumes, they introduced fashion that they are currently attracted to, one being the crop top. I learned that Graney dislikes the crop top because it reminds him of the fashion he grew up with in the 90s, which he thought was tacky, therefore, in his mind, all crop tops are tacky. Neither could fully understand why the other liked or disliked the crop top and it was because of this fashion cultural difference. I learned when speaking with the actors, I talked about how their individual style adds to the show, and with the director, I spoke of the group as an ensemble and how it visually relates to the rest of the production. On the other hand, the shop technicians did not care for current or past fashion, rather we focused on detailing and visual effect. The colors of this show were red, brown and white, and the technicians helped me incorporate all three colors into each outfit without making them look too absurd or abnormal. Such an example would be in Mary-Rose Branick's costume. Branick had a red polo shirt with brown corduroy overalls. She was missing white in her outfit and so we took out her brown zipper and replaced it with a white zipper. Having everyone in a controlled color pallet and changing minor details helped to push the clothes further to looking like costumes than ordinary street clothes. The language of costume construction was key in helping to make such changes. Every show that I've worked on has provided me with a different experience and new challenges. The languages and cultures I've learned has assisted me in helping the director visualize the production, understand how it relates to the actor and the character they are playing and how to properly communicate with the team who builds these items. The language we speak and cultures we learn is used to appeal to the visual, the emotional and the technical. Therefore, costume designers must be multi-cultural and multi-lingual to be successful.

The aim of this article is to offer an analysis of early Russell's theories of acquaintance and description. He tried to offer a solution to the Meinong's problem of non-existent entities and used formal logic to develop a theory of definite descriptions which was related to the epistemological principle of acquaintance. I agree the view that the historical Russell changed some of his views but the principle of acquaintance remained "the structural core" in his philosophy. I try to argue that acquaintance is also a regulative principle in his logical atomism, even if at the first glance his main interest was another. The problem of the so called propositional constituents brings to light this hidden presupposition and reveals again his empiricist view fixed in a relational framework.

Critical realism is a philosophy of social science that analyses and aims to remedy current problems and gaps. Basic tenets of positivist and quantitative research tend to contradict those of qualitative and interpretive research, and critical realism proposes ways to resolve the contradictions. Vital themes in childhood research that are reviewed in this article include a comparison with feminist research, critical realism, being and thought, transitive and intransitive, theory/practice consistency, agency and structure, closed and open systems, micro and macro in the global/local nexus, four planar social being, facts and values, and transformative change through the four-stage MELD dialectic. Critical realism aims to understand the world in order to be able move from coercion towards creative liberating power.

Deaf individuals typically experience English language difficulties at all levels of linguistic knowledge. Hearing individuals with English language learning disabilities (LD) can exhibit the same kinds of English language difficulties as deaf individuals. Although the existence of deaf individuals who also have LD has long been recognized, no definite criteria for identifying them exist, partly because of the confounding effects of deafness and LD on English language development. Despite the confound, previous surveys suggest that teachers believe atypical English-language behavior is a potential diagnostic marker for LD in deaf individuals. In the present study, a survey solicited the intuitions of experienced teachers and tutors of English to deaf college students regarding the degree of difficulty deaf students with and without LD might be expected to have in dealing with 30 specific English language phenomena. Spelling knowledge and a variety of English discourse, lexical, syntactic, and morphological phenomena emerged as candidates for further study as potential markers of LD in the deaf population.

A humanistic approach to language study recognizes the necessity of learning a language in its social and cultural contexts, encompassing the ecology and the material, social, religious, and linguistic cultures of the language studied. The need to teach language in relation to social and cultural values affects educational choices with respect to curriculum, materials, and approaches and should be central to national planning and programs for professional development and the improvement of teaching.

Pluriverse, the final work of the American poet and philosopher Benjamin Paul Blood, was published posthumously in 1920. After an experience of the anaesthetic nitrous oxide during a dental operation, Blood came to the conclusion that his mind had been opened, that he had undergone a mystical experience, and that he had come to a realisation of the true nature of reality. This title is the fullest exposition of Blood's esoteric Christian philosophy-cum-theology, which, though deemed wildly eccentric by commentators both during his lifetime and later in the twentieth century, was nonetheless on

In 1934, Harold J. Laski wrote of Charles A. Beard: "It is true that he has formulated no consistent or systematic philosophy of politics; none has been formulated in the America of our time. But it is clear that the day for such a formulation is rapidly approaching. When it comes, I believe it will be found that no one has made a more solid contribution than Charles Beard to the elements from which it will have to be fashioned."It is likely that most Americans of academic bent, whether they have actually read the book or not, are aware of the stir once created by An Economic Interpretation of the Constitution of the United States. Certainly they could hardly have avoided some part of that flood of articles, books, and reviews which for decades has poured from the pen of Beard. Whether or not his writings have contributed to the building of an American "philosophy of politics," it seems obvious that college youth in unknown number, scholars, and Americans in many walks of life must in some degree have been influenced by Beard in various subtle or indirect ways. The very bulk and range of his writings make it highly probable. For a check of the card catalog in a large university library, plus an examination of the Library of Congress bibliography and a few other sources, yields a total of about sixty first-edition volumes with Beard's name attached as author, co-author, or editor.

There are a number of Yiddish linguistic atlases in existence, the most comprehensive of which is the Language and Culture Atlas of Ashkenazic Jewry ( LCAAJ ) now being published in its entirety. Often thought to be useful to linguists alone, these language-atlas materials on the contrary are a rich source of invaluable information useful to historians, sociologists, folklorists, and other scholars of Jewish history and culture. Examples discussed come from LCAAJ data on the eating habits and food taboos among the Jews of pre-World War II Eastern Europe—the preparation of gefilte fish and farfl —and Yiddish dialect variation in Eastern Europe. Yiddish dialect geography is a valuable resource for all scholars of Jewish history and culture and not linguists alone.

This open access book sheds light on the term gongsheng/kyōsei, which is used in Chinese and Japanese to not only translate "symbiosis" in biology but also broadly deployed in philosophical, social and political contexts. It is a cross-contextual attempt to study the foundation of gongsheng/kyōsei as a philosophy of co-becoming, with exploration of its significance for thinking about the planetary challenges of our times.

As a collaboration between the two authors, this essay first addresses each author's individual perspective on language and gender studies, particularly as it has taken shape in the US context, and then offers a jointly developed argument regarding the field's history and trajectory. We write from the respective standpoints of our lived experiences within and beyond the academy. Mary is a white cis female-identified linguistics professor who was deeply involved in the Berkeley Women and Language Group in the 1990s and has conducted research on language and gender throughout her career, especially with respect to its intersection with race. deandre's Black and gender-creative subjectivity substantially colours the lens through which they experience and interpret the social life of language.