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Cover -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Editors' Introduction: Threshold Concepts, Naming What We Know, and Reconsidering our Shared Conceptions -- Part 1: Challenges, Critiques, and New Conceptions -- 1. Recognizing the Limits of Threshold Concept Theory -- 2. Literacy Is a Sociohistoric Phenomenon with the Potential to Liberate and Oppress -- 3. Thinking like a Writer: Threshold Concepts and First-Year Writers in Open-Admissions Classrooms -- 4. Writing as Practiced and Studied beyond "Writing Studies" -- 5. Rhetoric as Persistently "Troublesome Knowledge": Implications for Disciplinarity -- 6. The World Confronts Us with Uncertainty: Deep Reading as a Threshold Concept -- 7. Expanding the Inquiry: What Everyday Writing with Drawing Helps Us Understand about Writing and about Writing-Based Threshold Concepts -- Part 2: Using Threshold Concepts to Engage with Writing Teachers and Students -- 8. Doors between Disciplines: Threshold Concepts and the Community College Writing Program -- 9. Extending What We Know: Reflections on the Transformational Value of Threshold Concepts for Writing Studies Contingent Faculty -- 10. Threshold Concepts and Curriculum Redesign in First-Year Writing -- 11. Framing Graduate Teaching Assistant Preparation around Threshold Concepts of Writing Studies -- 12. Threshold Concepts and the Phenomenal Forms -- 13. Grappling with Threshold Concepts over Time: A Perspective from Tutor Education -- 14. "I Can't Go On, I'll Go On": Liminality in Undergraduate Writing -- Part 3: Threshold Concepts and Writing: Beyond the Discipline -- 15. Rethinking Epistemologically Inclusive Teaching -- 16. Using a Threshold Concepts Framework to Facilitate an Expertise-Based WAC Model for Faculty Development -- 17. Talking about Writing: A Study of Key Writing Terms Used Instructionally across the Curriculum.

This book provides an in-depth analysis of what happens when intermediate level learners of a foreign language use a bilingual dictionary when writing. Dictionaries are frequently promoted to people learning a foreign language. Nevertheless, teachers often talk about their students' inability to use dictionaries properly, especially when they write, and this can be problematic. This book paints a comprehensive picture of the differences a dictionary makes and brings out the implications for language learning, teaching, and testing practices. It draws on research in which participants in three.

Captioned Entertainment Films' movie classics are being used to provide more than passive entertainment for deaf children. When used as a teaching tool, in conjunction with a language arts curriculum, Captioned Entertainment Films serve as a valuable support for the teaching of reading, language, and composition. Captioned Entertainment Films provide students and teachers with a concrete, common, visual frame of reference from which to practice language arts skills. This shared experience enables teachers to be more efficient and expeditious in helping students organize their thoughts. Captioned Entertainment Films provide students with the opportunity to improve skills in reading, language, and composition and to taste some of Hollywood's great literary classics.

While describing language documentation methodology in Africa, Lüpke (2010: 67) notes that documenting the performance of verbal art often requires more than just a speaker and necessitates the documentation of the situational context. Childs et al. (2014: 169) advocate for documentation of the comprehensive language repertoire of a community in it's sociolinguistic context rather than documenting use of a single speech variety within a multilingual reality. This presentation looks at the performance of poetic form by women in the u̱t‑Maꞌin language community in a variety of settings. Paterson (2019: 8-9) lays out seven related speech varieties—u̱t‑Fer, u̱t‑Kag, u̱t‑MaꞌKu̱u̱r, u̱t‑MaꞌJiir, u̱t‑MaꞌRo̱r, u̱s-Us, and u̱t‑Zuksun—under the cover term u̱t‑Maꞌin. In addition to the u̱t‑Maꞌin varieties, C'Lela and u̱t‑Hun, neighboring languages, and the lingua franca, Hausa, are used in a range of social functions; English is the language of federal government and education; Arabic is used to express a social identity with macro-Islamic culture. However, each u̱t‑Maꞌin speaker's grasp of these various speech varieties differs. Within recordings made while conducting language documentation fieldwork among u̱t‑Maꞌin speakers, many songs were not sung in u̱t‑Maꞌin. Rather, C'Lela, Hausa, and Arabic were used depending on the social context. In one case, a song within a folk narrative by an u̱t-Fer storyteller (Mama Iliya et al. 2013) was not intelligible to two u̱t-MaꞌRo̱r speakers who were transcribing the story. My consultants clearly expressed that the challenge for translation was because "This is not our language". This presentation highlights the relationships between u̱t‑Maꞌin and C'Lela cultural contexts in which only some u̱t‑Maꞌin women embrace non-u̱t‑Maꞌin verbal art. Through analysis of recorded songs, discussion around the songs at the time of collection, discussion with other u̱t‑Maꞌin speakers elsewhere, and supplemental video conference interviews, I present hypotheses about the sociolinguistic dynamics that drive the use of particular languages in songs that may prove applicable to other multilingual environments. ; Women of the u̱t‑Maꞌin community use a variety of languages in everyday life and in poetic performance. I present hypotheses about sociolinguistic dynamics that drive the use of particular languages in songs.

In Shaping Language Policy in the U.S.: The Role of Composition Studies, author Scott Wible explores the significance and application of two of the Conference on College Composition and Communication's key language policy statements: the 1974 Students' Right to Their Own Language resolution and the 1988 National Language Policy. Wible draws from a wealth of previously unavailable archived material and professional literature to offer for the first time a comprehensive examination of these policies and their legacies that continue to shape the worlds of rhetoric, politics, and composition. Wible demonstrates the continued relevance of the CCCC's policies, particularly their role in influencing the recent, post-9/11 emergence of a national security language policy. He discusses in depth the role the CCCC's language policy statements can play in shaping the U.S. government's growing awareness of the importance of foreign language education, and he offers practical discussions of the policies' pedagogical, professional, and political implications for rhetoric and composition scholars who engage contemporary debates about the politics of linguistic diversity and language arts education in the United States. Shaping Language Policy in the U.S. reveals the numerous ways in which the CCCC language policies have usefully informed educators' professional practices and public service and investigates how these policies can continue to guide scholars and teachers in the future.

Natural Language Processing (NLP) opens up new possibilities for arts management in practice and research. This article introduces the typical research process of NLP and presents the most important methods and techniques like Sentinent Analysis, Author Profiling, Named Entity Recognition, Topic Modeling and Trend Detection. Using recent research results and new illustrative examples, we descibe the possibilities and limitations of NLP for arts Management.

Intro; Contents; Acknowledgments; Abbreviations; Introduction; 1. Enchanted Writing; 2. Writing as Entangled; 3. Writing as Making; 4. The Dynamics of Becoming; 5. The Agency of Writing; 6. The Creativity of Writing; 7. Ethical Persuasion; Conclusion: Good Writing Is Well Made; Notes; Works Cited; Index