Books: 'Collaborative discourse'

1

Shepherd, Jennifer Dorothy. Storytelling in conversational discourse: A collaborative model. Birmingham: University of Birmingham, 1998.

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2

C, Armstrong Jeannette, ed. The Native creative process: A collaborative discourse. Penticton, B.C: Theytus Books, 1991.

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3

Hybrid voices and collaborative change: Contextualising positive discourse analysis. New York: Routledge, 2012.

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4

Wilson, E. J. Peer group discourse and collaborative learning in the primary school. Norwich: University of East Anglia, 1990.

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5

Collaborating towards coherence: Lexical cohesion in English discourse. Amsterdam: John Benjamins, 2003.

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6

Stauber, Roni. Collaboration with the Nazis: Public discourse after the Holocaust. Milton Park, Abingdon, Oxon: Routledge, 2010.

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7

Dascălu, Mihai. Analyzing Discourse and Text Complexity for Learning and Collaborating. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-03419-5.

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8

Collaboration in intercultural discourse: Examples from a multicultural Australian workplace. Frankfurt am Main: P. Lang, 1996.

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9

Brioni, Simone, and Shirin Ramzanali Fazel. Scrivere di Islam. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-411-0.

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Scrivere di Islam. Raccontare la diaspora (Writing About Islam. Narrating a Diaspora) is a meditation on our multireligious, multicultural, and multilingual reality. It is the result of a personal and collaborative exploration of the necessity to rethink national culture and identity in a more diverse, inclusive, and anti-racist way. The central part of this volume – both symbolically and physically – includes Shirin Ramzanali Fazel’s reflections on the discrimination of Muslims, and especially Muslim women, in Italy and the UK. Looking at school textbooks, newspapers, TV programs, and sharing her own personal experience, this section invites us to change the way Muslim immigrants are narrated in scholarly research and news reports. Most importantly, this section urges us to consider minorities not just as ‘topics’ of cultural analysis, but as audiences and cultural agents. Following Shirin’s invitation to question prevailing modes of representations of immigrants, the volume continues with a dialogue between the co-authors and discusses how collaboration can be a way to avoid reproducing a ‘colonial model’ of knowledge production, in which the white male scholar takes as object of analysis the work of an African female writer. The last chapter also asserts that immigration literature cannot be approached with the same expectations and questions readers would have when reading ‘canonised’ texts. A new critical terminology is needed in order to understand the innovative linguistic choices and narrative forms that immigrant writers have invented in order to describe a reality that has lacked representation or which has frequently been misrepresented, especially in the discourse around the contemporary Muslim diaspora.

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10

Conese, Claudio, ed. Sixth International Symposium Monitoring of Mediterranean Coastal Areas. Problems and Measurement Techniques. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-428-2.

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The Sixth International Symposium Monitoring of Mediterranean Coastal Areas. Problems and Measurement Techniques (Livorno, Italy 28-29 September 2016) was organized by the CNR-IBIMET in collaboration with University Departments, the City of Livorno, the LEM Foundation, the Livorno Port Authority and CeSIA-Accademia dei Georgofili, with the patronage by Accademia Nazionale dei Lincei, the Tuscany Region and the Province of Livorno. The Symposium, that every two years addresses to Mediterranean scholars, was characterized by discourse of topics related to Mediterranean coastal areas and by the search for technical and instrumental solutions to problems related to: energy production in the coastal area, morphology and evolution of coastlines, flora and fauna of the littoral system, management and integrated coastal protection, coastline geography, human influence on coastal landscape.

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11

Chirac, Jacques. Discours et messages de Jacques Chirac: Maire de Paris, premier ministre, président de la République : en hommage aux juifs de France, victimes de la collaboration de l'Etat français de Vichy avec l'occupant allemand. Paris: L'Association Les fils et filles des déportés juifs de France, 1998.

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12

Chirac, Jacques. Discours et messages de Jacques Chirac, maire de Paris, premier ministre, président de la République, en hommage aux juifs de France victimes de la collaboration de l'Etat français de Vichy avec l'occupant allemand, en hommage au CRIF et aux justes de France et en mémoire de la Shoah. 6th ed. Paris: Fils et filles des déportés juifs de France, 2005.

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13

Université Victor Segalen-Bordeaux 2. GERAS. Groupe d'étude et de recherche en anglais de spécialité. La langue, le discours et la culture en anglais du droit: [Actes du colloque organisé à Paris en 2004 dans le cadre des activités du GERAS, groupe d'étude et de recherche en anglais de spécialité, de l'université Victor Segalen-Bordeaux 2, avec la collaboration du CERLAC, centre de recherche en langues de spécialité et cultures, de l'université Paris I Panthéon-Sorbonne]. Paris: Publications de la Sorbonne, 2005.

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14

Armstrong, Jeannette, Douglas J. Cardinal, and Greg Young-Ing. The Native Creative Process: A Collaborative Discourse. Theytus Books, 2002.

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15

Armstrong, Jeannette. The Native Creative Process: A Collaborative Discourse. Theytus Books, 1992.

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16

Bartlett, Tom. Hybrid Voices and Collaborative Change: Contextualising Positive Discourse Analysis. Taylor & Francis Group, 2015.

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17

Altshuler, Daniel. Events, States and Times: A Collaborative Essay on Narrative Discourse in English. De Gruyter, Inc., 2016.

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18

Austin, Stephen William. Collaborative narrative discourse in children's writing at Key Stage One. 1997.

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19

Meade, Michelle L., Celia B. Harris, Penny Van Bergen, John Sutton, and Amanda J. Barnier, eds. Collaborative Remembering. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737865.001.0001.

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Much information in our lives is remembered in a social context, as we often reminisce about shared experiences with others, and more generally remember in the social context of our communities and our cultures. Memory researchers across disciplines and subdisciplines are actively exploring collaborative remembering. However, despite this common interest and growing research area, there is currently relatively little crosstalk between perspectives. This is at least partly due to differences in the assumptions, methodologies, and conclusions that guide different approaches, and which can make it difficult to synthesize and compare methods and findings. The primary purpose of this book is to feature outstanding recent work on collaborative remembering across several fields and subfields (including developmental psychology, cognitive psychology, social psychology, discourse processing, philosophy, neuropsychology, design, and media studies), to highlight the points of overlap and contrast, and to initiate conversations and debate both within and across the various perspectives. Toward that end, we present a comprehensive and field-defining set of chapters that illustrate the many different perspectives of collaborative memory research, and demonstrate the nuance and complexity of collaborative remembering within and across research traditions.

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20

Dorval, Bruce, and David J. Bearison. Collaborative Cognition: Children Negotiating Ways of Knowing (Advances in Discourse Processes). Ablex Publishing, 2001.

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21

McVittie, Chris, and Andy McKinlay. Collaborative Processes in Neuropsychological Interviews. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737865.003.0012.

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Acts of remembering are often social events and not entirely internal matters. Yet typically neuropsychological interviews are treated as a means of assessing cognitive abilities and impairments of the individual patient with little attention paid to the context within which the patient produces or fails to produce an act of remembering. Using discourse analysis, we examine data from interviews with patients diagnosed as having two forms of memory impairment, namely dense amnesia and momentary confabulation. Outcomes of memory failure on the tasks set are seen to be joint achievements of interviewers and interviewees. Interviewers are not passive in these encounters but active participants. Their contributions, along with patients’ descriptions and other interactional elements, comprise collaborative processes in neuropsychological interviews.

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22

Collaborative Action Research for English Language Teachers. Cambridge University Press, 1999.

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23

Richards, Keith. Language and Professional Identity: Aspects of Collaborative Interaction (Palgrave Studies in Professional and Oganizational Discourse). Palgrave Macmillan, 2006.

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24

Collaborative Action Research for English Language Teachers (Cambridge Language Teaching Library). Cambridge University Press, 1999.

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25

Mahoney, Dennis F. Heidelberg, Dresden, Berlin, Vienna. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.18.

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In the various permutations of German Romanticism from its beginnings in the 1790s, two factors remain constant: a penchant for collaborative, transdisciplinary work, and the formation of small circles—often in university towns—whose particular character often depended upon and contributed to the prevailing intellectual discourse of that locale. For the four cities highlighted in the chapter heading, one further factor needs to be considered: the impact of the Napoleonic reorganization of central Europe. The breakup and dispersal of the Jena Romantics coincided with the collapse of the moribund Holy Roman Empire, which officially ended in 1806 but whose final dissolution began with the Treaty of Lunéville in 1801. This chapter looks at the interplay between history and creative collaboration, literary innovation and political aspiration or restraint, as the main energies of German Romanticism relocate themselves in these different cities at different times.

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26

Stauber, Roni. Collaboration with the Nazis: Public Discourse after the Holocaust. Taylor & Francis Group, 2014.

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27

Roni, Stauber, ed. Collaboration with the Nazis: Public discourse after the Holocaust. Milton Park, Abingdon, Oxon: Routledge, 2010.

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28

Franco, Barbara. Decentralizing Culture. Edited by Paula Hamilton and James B. Gardner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199766024.013.3.

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This chapter defines community in its broadest sense as shared experience based on ethnicity, racial origins, religion, geography, or other cultural values. It provides examples of public history projects in museums, preservation of historical resources, and oral history that demonstrate how the collaborative nature of community history requires shared authority, dialogue, and participatory management. These projects exemplify best practices for successful community-based history that balance experience with expertise; historical analysis with current-day relevance; and inner dialogue with public discourse. The chapter considers why community history matters as a form of civic dialogue and how emerging technology may impact and challenge public history dialogue in the future.

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29

Young, Lisa D. Promoting social collaboration: The impact of information visualization on community discourse. 2004.

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30

Young, Lisa D. Promoting social collaboration: The impact of information visualization on community discourse. 2004.

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31

Etty, John. Graphic Satire in the Soviet Union. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496820525.001.0001.

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Krokodil produced state-sanctioned satirical comments on Soviet and international affairs from 1922 onward. Authored by professional and non-professional contributors, and published by Pravda in Moscow, it became the satirical magazine with the largest circulation in the world. Every Soviet citizen and every scholar of the USSR was familiar with Krokodil as the most significant and influential source of graphic satire in the USSR. This book uses an original framework for reconsidering the forms, production, consumption, and functions of Krokodil magazine. It considers the magazine's content, structures and conventions; it also uses modern cultural and media theory to look beyond content analysis to consider visual language and the performative construction of character. Empirical analysis of Krokodil is thus used to extend and nuance our understanding of Soviet graphic satire beyond state-sponsored propaganda. In several ways, this book challenges existing approaches. It conducts close readings of a large range of different types of cartoons that have not before been discussed in depth, and it does so in ways that reveal new insights. It shows that Krokodil's satire was complex, subtle and intermedial. It highlights the importance of Krokodil's readers' and artists' collaborative exploration and shaping of the boundaries of permissible discourse, and it argues that Krokodil's cartoons simultaneously affirmed, refracted and critiqued official discourses, counterposing them with visions of Soviet citizens' responses. Ideology, Krokodil's satire suggests, is an interpretive tool for negotiating everyday reality and official discourses, and it was not always to be taken seriously.

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32

Tanskanen, Sanna-Kaisa. Collaborating towards Coherence: Lexical cohesion in English discourse (Pragmatics and Beyond New Series). John Benjamins Publishing Co, 2006.

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33

Whittier, Nancy. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190235994.003.0001.

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The introduction lays out a model of social movement relationships that are neither coalitions nor oppositional, including their form and outcomes. It outlines three types of relationships between feminists and conservatives: collaborative adversarial relationships, narrow neutrality, and ambivalent alliances. It gives an overview of the three case studies (pornography, child sexual abuse, and the Violence Against Women Act, or VAWA). It discusses feminist and conservative engagement with the intersections of gender and race in issues of violence and crime. It discusses mechanisms and paths of social movement outcomes for federal legislation and policy and cultural processes within the state, including emotion, frames, and discourse. It gives an overview of the book’s methodology and data, including analysis of transcripts of congressional hearings, conservative and feminist publications, amicus briefs, and governmental and archival material.

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34

Lewis, David Charles. European unity and the discourse of collaboration: France and francophone Belgium: 1938-1945. 1996.

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35

Bridgett, Rob. Contextualizing Game Audio Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.008.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter is a reflective discourse on the aesthetics and production processes of sound in video games, not only from a technological perspective, but also from the viewpoint that video games are part of an ongoing cultural continuum that deeply involves cinema, music, and other media. The chapter takes the form of a meditative discussion on the practice, process, and craft of designing and directing interactive sound for a game, providing insight into some of the collaborative work that is involved in creating the overall effect of a finished soundtrack for a modern video game. The article makes specific reference to the role and thought processes of the audio director on the video gameScarface: The World is Yours(2006).

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36

Beeston, Alix. Torn, Burned, and Yet Dancing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0005.

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This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

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37

Barker, J. Craig. In Praise of a Self-Contained Regime. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198795940.003.0003.

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This chapter is dedicated to the challenges which the VCDR, fifty years into its existence, faces in a world marked by a globalized economy and rapid technological developments. The author reflects on new diplomatic processes which have emerged through the creation of governmental and non-governmental institutions and on notions such as collaborative, public, and cultural diplomacy which have challenged accepted understandings of the role and functions of traditional diplomacy. Barker also explores the fact that international law itself is changing from a system regulating co-existing sovereignties to a possibly fragmented discourse of complex frameworks which themselves challenge the sovereignty paradigm. In this context, he investigates the continued relevance and purpose of the VCDR and gives particular focus to existing mechanisms within the Convention that allow for modified and developed interpretations of the Convention to take account of the changing international world in which contemporary diplomacy operates.

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38

Language and Professional Identity: Aspects of Collaborative Interaction (Palgrave Studies in Professional and Organizational Discource). Palgrave Macmillan, 2009.

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39

Bishop, Ryan, and Sunil Manghani, eds. Seeing Degree Zero. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431415.001.0001.

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In the fields of literature and the visual arts, 'zero degree' represents a neutral aesthetic situated in response to, and outside of, the dominant cultural order. Taking Roland Barthes' 1953 book Writing Degree Zero as just one starting point, but with reference to broader historical discourse that picks up on critical notions of 'zero', 'zero degree', and the 'neutral, this volume examines the historical, theoretical and visual impact of the term and draws directly upon the editors' ongoing collaboration with artist and writer Victor Burgin. The book is composed of key chapters by the editors and Burgin, a series of collaborative texts with Burgin and four commissioned essays concerned with the relationship between Barthes and Burgin in the context of the spectatorship of art. It includes an in-depth dialogue regarding Burgin's long-term reading of Barthes and a lengthy image-text, offering critical exploration of the Image (in echo of earlier theories of the Text). Also included are translations of two projections works by Burgin, Belledonne and Prairie, which work alongside and inform the collected essays. Overall, the book provides a combined reading of both Barthes and Burgin, which in turn leads to new considerations of visual culture, the spectatorship of art and the political aesthetic. Taken together, the volume argues that the critical concept of 'zero degree' presents a common, underlying interest threaded through the work of Roland Barthes and Victor Burgin. With respect to literature and the visual arts, it specifies a 'neutral' aesthetic situated in response to and outside of the dominant cultural order. This book provides an historical, theoretical and visual exploration of this term as it pertains to the writing and art practices of both Barthes and Burgin.

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40

(Editor), Denis Mieville, and Alain Berrendonner (Editor), eds. Logique, discours et pensee: Melanges offerts a Jean-Blaise Grize. Avec la collaboration de Christiane Tripet (Sciences pour la communication. Vol. 52). 2nd ed. Peter Lang Publishing, 1999.

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41

Casserly, Christina. An observational study of collaboration and peer discourse generated by pairs of students at the computer. 2004.

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42

Women, Writing and the Iraqi Ba'thist State: Contending Discourses of Resistance and Collaboration, 1968-2003. Edinburgh University Press, 2020.

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43

Dascălu, Mihai. Analyzing Discourse and Text Complexity for Learning and Collaborating: A Cognitive Approach Based on Natural Language Processing. Springer, 2016.

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44

Volgogradskiĭ gosudarstvennyĭ pedagogicheskiĭ universitet. Nauchno-issledovatelʹskai͡a︡ laboratorii͡a︡ "I͡A︡zyk i lichnostʹ"., ed. I͡A︡zykovai͡a︡ lichnostʹ.: Sbornik nauchnykh trudov. Volgograd: Peremena, 2000.

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45

Hawkins, Michael C. Semi-Civilized. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748219.001.0001.

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This book offers a concise, revealing, and analytically penetrating view of a critical period in Philippine history. The book examines Moro (Filipino Muslim) contributions to the Philippine exhibit at the St. Louis World's Fair in 1904, providing insight into this fascinating and previously overlooked historical episode. By reviving and contextualizing Moro participation in the exposition, the book challenges the typical manifestations of empire drawn from the fair and delivers a nuanced and textured vision of the nature of American imperial discourse. The book argues that the Moro display provided a distinctive liminal space in the dialectical relationship between civilization and savagery at the fair. The Moros offered a transcultural bridge. Through their official yet nondescript designation as “semi-civilized,” they undermined and mediated the various binaries structuring the exposition. As the book demonstrates, this mediation represented an unexpectedly welcomed challenge to the binary logic and discomfort of the display. As the book shows, the Moro display was collaborative, and the Moros exercised unexpected agency by negotiating how the display was both structured and interpreted by the public. Fairgoers were actively seeking an extraordinary experience. Exhibit organizers framed it, but ultimately the Moros provided it. And therein lay a tremendous amount of power.

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46

Hamilton, Paul, ed. The Oxford Handbook of European Romanticism. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.001.0001.

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This volume in the Oxford Handbook series is on the subject of European Romanticism, an intellectual, literary, philosophical, and political movement usually described as taking place between 1789 and 1848. The book first examines texts written by major writers in different European languages: French, German, Italian, Spanish, Russian, Hungarian, Greek, Polish, and Scandinavian. Chapters on these are written by leading scholars in the field. Then follows a second section elaborating the naturally interdisciplinary quality of Romanticism, encapsulated by the different discourses with which writers of the time set up an internal comparative dynamic. The chapters are written by specialists to highlight the sense a discourse gives of being written knowledgeably against other pretenders to completeness or comprehensiveness of understanding. Romantic variety of this kind is also typically written against the Enlightenment project of an Encyclopedia cast as a literal inventory rather than a conversation in which different views of the world figure each other. Discourses push their individual claims to resume European culture, collaborating and trying to assimilate each other in the process. The main examples here are history, geography, drama, theology, language, philosophy, political theory, the sciences, and the media. The chapters are original interpretations of aspects of an inherently interactive world of individual writers and the discursive idioms to which they are historically subject but which grant them unusual articulacy as well.

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47

(Editor), Curtis Jay Bonk, and Kira S. King (Editor), eds. Electronic Collaborators: Learner-centered Technologies for Literacy, Apprenticeship, and Discourse. Lawrence Erlbaum, 1998.

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48

Jay, Bonk Curtis, and King Kira S, eds. Electronic collaborators: Learner-centered technologies for literacy, apprenticeship, and discourse. Mahwah, N.J: L. Erlbuam Associates, 1998.

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49

Marin, Reva. Outside and Inside. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829979.001.0001.

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This book is the first full-length study of autobiographies and memoirs of white American jazz musicians, whose accounts reveal attitudes toward race, ethnicity, and gender across a wide range of twentieth-century jazz communities. White jazz autobiographers highlight their immersion in Black jazz environments as central to establishing their legitimacy as jazz musicians, claiming versions of masculinity shaped by these immersion experiences and positioning themselves in relation to colorblind or essentialist arguments that have dominated twentieth-century jazz discourse. Their accounts illustrate the triumphs and failures of jazz interracialism, displaying the contradictory attitudes of reverence and entitlement, deference, and insensitivity that remain part of the white response to Black culture to the present day. The book examines sixteen autobiographies published between 1926 and 2010. Its thematic approach includes chapters that examine the collaborative process in jazz autobiography, Jewish American jazz musicians, and race relations in the New Orleans jazz revival and on Los Angeles’ Central Avenue. Its focus on male instrumentalists and bandleaders provides opportunities for revisiting some of the classic depictions of the “white Negro” in contemporary cultural criticism. While informed by the insights of critical race theory, the book argues that viewing these texts simply through the lens of white privilege does not do justice to the sustained relationships with Black music and culture described by these autobiographers. It both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in Black culture.

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50

Mot et parties du discours. / Word and Word Classes. / Wort und Wortarten. Avec la collaboration de A. Martinet, R.H. Robins, W.P. Schmid. Peeters, 1986.

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Books on the topic 'Collaborative discourse'

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