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Journal articles on the topic 'Composition (Language arts)'
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1
Pacheco, Mark B., Blaine E. Smith, and Stephanie Carr. "Connecting Classrooms and Communities with Language and Technology: A Multimodal Code-Meshing Project." Voices from the Middle 24, no. 3 (March 1, 2017): 63–67. http://dx.doi.org/10.58680/vm201728998.
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The authors explore how students in an English language arts class connect their classroom to their communities through creating digital projects that leverage multiple languages and multimodal composition in a process they call “multimodal code-meshing”—. Drawing from student examples, teachers detail how multilingual students respond to a text about heroism by interviewing "everyday heroes" in their communities, creating multimodal compositions and sharing these compositions with classmates in a type of community literacy that pushes students to both critique and create community texts.
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Baines, Lawrence A. "From Tripod to Cosmos: A New Metaphor for the Language Arts." English Journal 87, no. 2 (February 1, 1998): 24–35. http://dx.doi.org/10.58680/ej19983527.
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Argues that the contemporary language arts curriculum encompasses eight areas: literature, language, composition, speech and drama, critical thinking, technology, media literacy, and interdisciplinary studies. Offers a rationale for “cosmos” as a new metaphor for the language arts. Discusses the content of each of the eight curricular areas, and provides a glimpse at some relevant texts and research.
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Dalton, Bridget. "Bringing Together Multimodal Composition and Maker Education in K–8 Classrooms." Language Arts 97, no. 3 (January 1, 2020): 159–71. http://dx.doi.org/10.58680/la202030415.
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This article makes a case for integrating multimodal composition in language arts classrooms, presenting core features and practices of multimodal composition workshops and maker spaces and showcasing promising projects.
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Bruce, David L. "Writing with Visual Images: Examining the Video Composition Processes of High School Students." Research in the Teaching of English 43, no. 4 (May 1, 2009): 426–50. http://dx.doi.org/10.58680/rte20097073.
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This teacher-researcher study explored the manner in which students created video compositions in a secondary English language arts media studies program. The study found that video composition is a complex, recursive process that allows for sequential multimodal representation of thoughts and ideas. Four areas are addressed: video allows for the expansion of compositional choices, demonstrates the verisimilitude of students’ initial concept to videotaped image, highlights the visuality in students’ re-presentations of ideas, and provides research methodological considerations.
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Quick, Nancy, and Karen Erickson. "A Multilinguistic Approach to Evaluating Student Spelling in Writing Samples." Language, Speech, and Hearing Services in Schools 49, no. 3 (July 5, 2018): 509–23. http://dx.doi.org/10.1044/2018_lshss-17-0095.
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Purpose Spelling is a critical component of literacy and language arts that can negatively influence other aspects of written composition. This clinical focus article describes a spelling error classification system that can be used to identify underlying linguistic deficits that contribute to students' spelling errors. The system is designed to take advantage of the linguistic expertise of speech-language pathologists to efficiently assess student errors in written compositions that are generated as a component of everyday classroom instruction. Method A review of the literature was conducted regarding spelling as a component of literacy and language arts, the development of spelling, and the linguistic contributions to spelling. Then, existing criterion-referenced measures of spelling simple and morphologically complex words were reviewed, and a new, manual technique for analyzing spelling in student written compositions was created. Conclusions The language expertise of speech-language pathologists enables them to readily evaluate the phonological, orthographic, and morphological errors in student misspellings, in order to identify specific underlying linguistic deficits and plan targeted interventions. The error classification system provides speech-language pathologists with a tool that is both simple and time efficient and, thus, may help increase their confidence and ability in addressing the spelling needs of students.
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Bianchi, Lisa Lenz, and Barbara A. Cullere. "Research as Duet: Teachers with Complementary Literacies Study Orality’s Links to Literacy." Language Arts 73, no. 4 (April 1, 1996): 241–47. http://dx.doi.org/10.58680/la199624359.
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A primary goal of language arts educators is to help children develop their skill in composition. But as this research shows, to help all children become better composers, we must involve them in authentic oral, as well as written, composition.
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Aleo, Trevor, Sarah Jerasa, and Brady L. Nash. "“What Would Other Swifties Think?”: Multimodal Composing with Communities in Mind." English Journal 113, no. 4 (March 1, 2024): 27–36. http://dx.doi.org/10.58680/ej2024113427.
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Park, HoGwan. "Case Study on the Class Content Composition and Practice of Academy Writing Utilizing Digital Media." Korean Association of General Education 16, no. 2 (April 30, 2022): 141–56. http://dx.doi.org/10.46392/kjge.2022.16.2.141.
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Undergraduate students in the 21st century need to understand both the process of expressing their opinions and that of the critical acceptance of those opinions utilizing digital media. They also need to recognize the linguistic characteristics and linguistic expressions that are used in digital media in the language of their everyday lives. Since undergraduate students are both receivers of information utilizing digital media language and producers of new digital information, they should develop communication skills that better correspond to the language that they use in their offline lives. Hence, it is necessary to open liberal arts courses for the purpose of fostering more effective communication skills utilizing digital media. In keeping in line with the daily life and practical needs of undergraduate students living in the digital age, the writer developed a course (Digital Culture and Language) in the first semester of 2020, and has delivered lectures to the present date as part of a balanced (elective) liberal arts course (3/3). This thesis aims to suggest certain communication education content and to provide class cases utilizing the digital media that appeared in the Digital Culture and Language course, as taught in the second semester of 2021.
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Mroz, Daniel, and Laura Astwood. "Speaking in a Visceral Language: From performer preparation to performance composition." Theatre Research in Canada 27, no. 1 (April 2006): 155–77. http://dx.doi.org/10.3138/tric.27.1.155.
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McGrail, Ewa, Kristen Hawley Turner, Amy Piotrowski, Kathryn Caprino, Lauren Zucker, and Ellen Greenwood. "Research: An Interconnected Framework for Assessment of Digital Multimodal Composition." English Education 53, no. 4 (July 1, 2021): 277–302. http://dx.doi.org/10.58680/ee202131483.
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Drawing from the Beliefs for Integrating Technology into the English Language Arts Classroom, as well as prior scholarship on digitally mediated communication, rhetorical studies and composition, assessment, and digital literacies, this theoretical article presents a framework for creating and assessing digital multimodal compositions. The Interconnected Framework for Assessment of Digital Multimodal Composition conceptualizes digital multimodal composing through three interconnected and layered domains: audience, mode and meaning, and originality. Though the three domains are defined individually, they are inextricably linked within the recursive processes and products of digital multimodal composing to contribute to intended meaning. The authors describe and justify the domains, present assessment considerations, and conclude with implications for practice and suggestions for designing assessments relevant to context and task.
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Ekpo, Omotolani Ebenezer. "Decolonizing the African musical language and Identity through Onyeji’s ‘Research Approach to music composition’ in Nigeria." African Musicology Online 12, no. 2 (July 13, 2023): 43–55. http://dx.doi.org/10.58721/amo.v12i2.258.
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Ongoing research in the arts, humanities and social sciences has largely explored different subjects on decolonising African socio-cultural perspectives, including music composition and performances. Art music composers in Nigeria and diaspora beyond creative expression have adopted their native languages as a viable tool for decolonising their continent. More recently, works and arguments of music scholars like Meki Nzewi, Dan Agu, Bode Omojola, Olusoji Stephen, and Christian Onyeji, among so many, have emphasised the deliberate creative engagement of indigenous languages and musical idioms as a tool for recovering Nigerian indigenous identity and sustainability of their indigenous musical cultures. Building on Hofstede’s theory on cross-cultural interactions and Vygotsky’s Sociocultural theory in addressing the issue of decolonising Africa through music and language, the study employed qualitative and ethnographic research methods to investigate the significance of Onyeji’s research compositional approach in sustaining African musical culture and identity. The study findings based on the analysis of the music piece “Abigbo for Modern Orchestra” and its creative milieu within the context of decolonisation conclude that art music composition based on thorough cultural investigations of a particular musical style or ensemble for heritage preservation is an effective medium of decolonising African music and language.
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Feijs, Loe. "Divisions of the Plane by Computer: Another Way of Looking at Mondrian's Nonfigurative Compositions." Leonardo 37, no. 3 (June 2004): 217–22. http://dx.doi.org/10.1162/0024094041139454.
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The article discusses a novel way of looking at Mondrian's nonfigurative paintings. Different periods of Mondrian's life correspond to distinct types of nonfigurative compositions, but can the distinction be formalized? How many bits or numbers are needed to characterize a typical composition? Can the rules of a composition type be expressed in the language of the computer? If distinct composition types require different computer programs, can these be based on a common frame-work, a mechanism, perhaps? The findings presented here are only tentative, but it is interesting to note that some characteristics can be modeled reasonably well, whereas others still resist formalization in the presented framework. The author's approach borrows principles from genetic programming. Employing a built-in random number generator, it can be used to explore a large space of “compositions.”
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Fidanova-Kolarova, Valentina. "Frame Composition – Features and Elements." Balkanistic Forum 33, no. 1 (January 10, 2024): 291–95. http://dx.doi.org/10.37708/bf.swu.v33i1.23.
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The article is a review of the book “Frame composition - characteristics and ele-ments”. The paper analyzes the rational laws and rules of composition in film, televi-sion and photography. Emphasis is placed on the methods that exist for applying the characteristics and compositional elements of a shot. Undoubtedly, one of the most used methods is the principle of the figure-base relationship established by Gestalt psychology. Cinematic composition determines the purpose and meaning of the visual image. This is what composition in cinema and in any of the visual arts is based on. Composition in cinema and photography is an art and its assessment is subjective but based on common elements and patterns by which people perceive images. Objective assessment of the research results in the dynamics of development and the impact of the effect on the film, television and photographic frame.
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Zuckerman, Charles H. P. "Figure Composition." Signs and Society 9, no. 3 (September 1, 2021): 263–99. http://dx.doi.org/10.1086/715515.
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Nguyen, Tuan D., and Laura Northrop. "Examining English Language Arts Teachers: Evidence from National Data." Teachers College Record: The Voice of Scholarship in Education 123, no. 10 (October 2021): 213–42. http://dx.doi.org/10.1177/01614681211058994.
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Background: Much of the previous research in teacher attrition and retention focuses on teachers in general, without regard to specific types of teachers. We focus on English language arts (ELA) and English as a second language (ESL) teachers because the United States has stubbornly low achievement in reading, and reading is critical to the success of learning other subjects, and because these are the two groups of teachers most responsible for teaching both native and non-native English speakers to read. Purpose: Our goal is to understand how the demographics and qualifications of ELA and ESL teachers have changed over time, changes in the student characteristics and school conditions in which they teach, their attrition rate, and the factors that are associated with their attrition behaviors. We also pay close attention to teachers in economically disadvantaged schools. Research Design: We use nationally representative data from seven waves of the Schools and Staffing Survey from 1987–1988 to 2011–2012, as well as the 2015–2016 National Teacher and Principal Survey to examine ELA and ESL teachers and their turnover behaviors. We employ sampling weights to make the results nationally representative. We use both descriptive and regression analyses to examine these teachers. Data Analysis: We first describe how characteristics of ELA and ESL teachers and the schools in which they teach have changed from 1988 to 2016. We then examine how these characteristics vary systematically across high- and low-poverty schools and compare the attrition rate for ELA and ESL teachers relative to other teachers. We also examine the factors that are associated with various forms of turnover and how organizational supports may be leveraged to increase retention. Findings: We find the composition of ELA and ESL teachers has changed substantially over time, with more teachers attending selective schools, being certified to teach, and more likely to teach in high-poverty schools. Relatedly, teacher characteristics in high- and low-poverty schools are consistently different across time, and school working conditions play an enhanced role in high-poverty schools rather than in more affluent schools. Conclusions: Although we find ELA teachers turn over at similar rates compared to non-ELA teachers, we find ESL teachers are more likely to leave both their current school and the profession. This is particularly concerning given that the ESL population is increasing while at the same time there is a shortage of trained-ESL teachers.
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KONNOVA, O. V., and YU V. MINAEVA. "COLORISTIC NEOLOGISMS IN RUSSIAN LANGUAGE." HUMANITARIAN RESEARCHES 4, no. 80 (2021): 59–63. http://dx.doi.org/10.21672/1818-4936-2021-80-4-059-063.
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The article examines the use of coloristic neologisms borrowed from French and English in the Russian language. The history of the emergence of coloronyms in Russian linguistics is studied, as well as their lexical meaning and semantic features. The continuous development of various areas of human life contributes to the emergence of new words, including neologisms. One of the most striking examples of the emergence of new lexical units in the Russian language is the process of borrowing. Among a number of borrowings, there are coloristic neologisms, there is an increased interest in the study of these lexemes. The rapid development of the modern world, cultural ties, socio-political relations with foreign states lead to a constant modification of the lexical composition of the modern Russian language.
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Wei, Han, and Hui Geng. "The Revival of Classical Chinese Poetry Composition: A Perspective from the New Liberal Arts." International Journal of Comparative Literature and Translation Studies 10, no. 2 (May 5, 2022): 18–22. http://dx.doi.org/10.7575/aiac.ijclts.v.10n.2p.18.
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For nearly a century, the composition of classical Chinese poetry had been on the decline, which was caused by the evolution of language and the transformation of education. However, the last decade has seen a rise in classical poetry writing. What most astounds the world is that younger generations have actively joined this writing movement. The objective of this paper is to examine the current phenomenon and the potential factors from the perspective of new liberal arts. Through general observations from students’ works in the composition of Chinese classical poetry, this paper also makes a historical comparison of the education mode between the decline and revival period. The findings indicate that it is information technology that brings back the three-millennia-old artistic form to this new era. The enhancement of information technology has removed the obstacles to accessing poems and has aided the process of writing poems. The revival of classical Chinese poetry composition exerts a far-reaching impact on poetry education in the context of new liberal arts. The results of this paper highlight the necessity of more research in similar areas.
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Wolfe, Joanna. "Rhetorical Numbers: A Case for Quantitative Writing in the Composition Classroom." College Composition & Communication 61, no. 3 (February 1, 2010): 452–75. http://dx.doi.org/10.58680/ccc20109956.
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Contemporary argument increasingly relies on quantitative information and reasoning, yet our profession neglects to view these means of persuasion as central to rhetorical arts. Such omission ironically serves to privilege quantitative arguments as above “mere rhetoric.” Changes are needed to our textbooks, writing assignments, and instructor development programs to broaden how both we and our students perceive rhetoric.
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Muharkina, A., and T. Chernyakova. "Ornament as the Basis for the Formation of Algorithmic Skills of Future Bachelors of Fine and Applied Arts." Geometry & Graphics 11, no. 2 (August 21, 2023): 27–38. http://dx.doi.org/10.12737/2308-4898-2023-11-2-27-38.
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Ornamental compositions open up significant opportunities for the formation of algorithmic skills among bachelors of fine and applied arts. Geometric ornament is a good training material for the construction and analysis of digital art models with a flexible level of complexity. Descriptive geometry is considered as an applied tool for analyzing and creating an ornamental composition. The analysis of the ornament allows you to read architectural and artistic forms more professionally. The integration of descriptive geometry and computer graphics disciplines takes the content to a qualitatively new level. Geometric constructions in ornamental compositions are functionally convenient for creating digital models when studying vector graphic editors. The article reveals the problem of the formation of algorithmic skills among future bachelors of art as an important component of algorithmic culture and computational thinking. The descriptive geometry language and digital tools of vector computer graphics were chosen as the language of the algorithm description in solving ornamental compositions. The article presents a generalized algorithm for constructing a digital model of ornamental compositions, consisting of analytical, search, constructive, reproductive, reflexive, evaluative stages, including action and auxiliary questions for finding a solution to a graphical problem. An example of a particular algorithm for constructing the rose of Amiens Cathedral, performed by a student in the framework of studying the discipline "Modern Information Technologies", is given. The search for solutions at each stage is carried out with the help of auxiliary questions of the generalized algorithm. Special attention is paid to such stages of the algorithm as reflection of the finished digital model to investigate the possibility of using it in a given material.
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Jenkins, Joseph R., Mark Jewell, Norma Leicester, Rollanda E. O'Connor, Linda M. Jenkins, and Nina M. Troutner. "Accommodations for Individual Differences without Classroom Ability Groups: An Experiment in School Restructuring." Exceptional Children 60, no. 4 (February 1994): 344–58. http://dx.doi.org/10.1177/001440299406000406.
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This study examined an alternative approach for organizing reading and language arts instruction to accommodate individual differences in reading ability. The approach featured Cooperative Integrated Reading and Composition (CIRC), conducted without ability groups, with cross-age and peer tutoring, supplementary phonics instruction for some students, and classroom-based instruction from compensatory and special education teachers. Students in regular, remedial, and special education were included in an experimental and a control school. We found significant effects on reading vocabulary, total reading, and language scores in favor of the experimental school; but on several other measures, including behavior ratings, we did not detect treatment effects.
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Welch, Marshall. "The Please Strategy: A Metacognitive Learning Strategy for Improving the Paragraph Writing of Students with Mild Learning Disabilities." Learning Disability Quarterly 15, no. 2 (May 1992): 119–28. http://dx.doi.org/10.2307/1511013.
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This study investigated the effectiveness of a metacognitive strategy, the PLEASE strategy, for teaching students with learning disabilities to write paragraphs. The investigation examined (a) students' metacognitive knowledge about prewriting planning, composition, revision, and parts of the paragraph; (b) student writing samples; and (c) student attitudes toward writing paragraphs. Results suggest that, compared to the traditional language arts curriculum used with a comparison group, the experimental treatment was significantly more effective in developing the metacognitive abilities of 6th graders with learning disabilities for prewriting planning, composition, and revision. Findings also suggest that students' attitude toward writing and writing instruction improved significantly following the experimental treatment.
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Saulova, Inessa. "SONATA FOR VIOLIN AND PIANO BY VLADIMIR ROTARU: PECULIARITIES OF THE MUSICAL LANGUAGE, COMPOSITION AND DRAMATURGY." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (August 2022): 54–58. http://dx.doi.org/10.55383/amtap.2022.1.10.
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The Sonata for violin and piano by Vladimir Rotaru has long been included in the pedagogical repertoire of the class of the chamber ensemble of the Academy of Music, Theater and Fine Arts, as it is distinguished by the originality of the compositional idea and vivid images. The Sonata is also representative from the point of view of the typical features of the author’s style associated with the influence of national folklore. This article provides an analysis of the musical language, composition and dramaturgy of this work, since the perception of the peculiarities of the figurative development and structural design of music is necessary for musicians to develop an appropriate performance version. It is concluded that the two-part structure of the Sonata reflects the combination of Doina and dance, typical of Moldovan folklore and the complex intonational and rhythmic organization gives the work a contemporary character.
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Johnson, Kristine. "Beyond Standards: Disciplinary and National Perspectives on Habits of Mind." College Composition & Communication 64, no. 3 (February 1, 2013): 517–41. http://dx.doi.org/10.58680/ccc201322721.
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This article situates the Framework for Success in Postsecondary Writing in current educational policy and in the discipline of rhetoric and composition. It argues the Framework positions the discipline to address gaps in American education by reinvigorating historical and traditional frames for writing instruction—ancient rhetoric and the liberal arts tradition. Although this realignment challenges technocratic assumptions about education, it raises pragmatic and ethical questions about assessing habits of mind that rhetoric and composition must consider.
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Rastier, François. "Sémiosis et metamorphoses." Semiotica 2020, no. 234 (October 25, 2020): 145–62. http://dx.doi.org/10.1515/sem-2018-0129.
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AbstractIndependently of the generative and enunciative theories, the dynamic structuralism of the Saussurian tradition has made it possible to pose the problem of semiosis, understood as the individuation of the sign from a structural germ. At a higher level of complexity, the processes that preside over this individuation seem to also govern the composition of texts. Literary and pictorial examples make it possible to detect them; they confirm that reflection on the arts is a major area of general and comparative semiotics
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Makhmudovich, Alikulov Alisher. "HARMONY OF ARCHITECTURE AND MONUMENTAL PAINTING IN THE ART OF UZBEKISTAN." American Journal of Social Science and Education Innovations 06, no. 05 (May 12, 2024): 96–100. http://dx.doi.org/10.37547/tajssei/volume06issue05-09.
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This study explores the harmony between architecture and monumental painting in the art of Uzbekistan. It investigates how architectural forms and decorative elements are integrated with painting techniques to create a cohesive visual language. Through an analysis of historical and contemporary examples, the research elucidates the cultural significance and aesthetic principles underlying this symbiotic relationship. By examining the interplay between architectural space and pictorial composition, this study offers insights into the unique artistic traditions of Uzbekistan and their enduring influence on architectural design and decorative arts.
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Fleming, David. "Quintilian, Progymnasmata, and Rhetorical Education Today." Journal for the History of Rhetoric 19, no. 2 (May 2016): 124–41. http://dx.doi.org/10.5325/jhistrhetoric.19.2.0124.
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ABSTRACT There has been a surge of scholarly interest lately in the progymnasmata, those ordered exercises in composition that played such an important role in rhetorical education from antiquity to the Renaissance. Comprising an integrated program in literary, civic, and moral effectiveness, they offer a compelling alternative to language arts pedagogy today, which seems too often driven by the goal of “college and career readiness.” But to be truly useful as a pedagogical model, the progymnasmata need to be embedded in something like the comprehensive educational philosophy of Quintilian’s Institutio Oratoria.
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Pandya, Jessica Z., Nat Hansuvadha, and Kathleah C. Pagdilao. "Multimodal, Digital Composition for Children with Autism: Lessons on Process, Product, and Assessment." Language Arts 93, no. 6 (July 1, 2016): 415–29. http://dx.doi.org/10.58680/la201628635.
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In this article, we examine the multimodal, digital autobiography of Cindy, an eight-year-old student with autism. We first describe the process we went through with Cindy to make her video in an inclusive, general education classroom setting. Then we examine the different modes through which Cindy made meaning in her video, focusing on the ways she used images, sound, titles, and video within the video. We then discuss the ways Cindy exploited certain affordances of multimodality, such as overcoming blocks to verbal communication by recording and editing voiceovers. Finally, we sketch some lessons teachers and researchers might learn from Cindy in terms of working with children with autism in general education language arts classes and in terms of working with all children from an assets-based approach.
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Liu, Donghong, and Jing Huang. "Rhetoric Construction of Chinese Expository Essays: Implications for EFL Composition Instruction." SAGE Open 11, no. 1 (January 2021): 215824402098851. http://dx.doi.org/10.1177/2158244020988518.
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Recent scholarship on Chinese students’ English expository essays tends to blur or mitigate the differences between English and Chinese writings. This alleged convergence of English and Chinese rhetorical norms gives rise to a view that rhetorical aspects in second language writing instruction and research in China should be de-emphasized. Drawing on data from full-score Chinese compositions of College Entrance Examination, this study examines how Chinese expository paragraphs are developed. Results show great disparities between English and Chinese expository writing at paragraph level such as non-English rhetorical mode, reliance on authorities, rhetorical paragraph, and figurative language in topic sentence. We argue that Chinese rhetorical strategies are likely to be transferred to English writing if English rhetoric is not taught and reinforced in college.
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Pope, Randolph D. "Why Major in Literature—What Do We Tell Our Students?" PMLA/Publications of the Modern Language Association of America 117, no. 3 (May 2002): 503–6. http://dx.doi.org/10.1632/003081202x61278.
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The progression from language instruction or composition to the higher discipline of literature is no longer the only or even preferred path everywhere. For example, MIT stresses that its literature program goes beyond the traditional:The program in Literature leading to the degree of Bachelor of Science in Literature is equivalent to the curricula in English (or literary studies) of the major liberal arts universities. The Literature curriculum is notable also for its inclusion, along with traditional literary themes and topics, of materials drawn from film and media, from popular culture, and from minority and ethnic culture. (“Major”)
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Ryu, Seungui. "A Study on the Issues and Tasks of Liberal Arts Korean Language Education For English Track International Students in Korean Universities." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 49–63. http://dx.doi.org/10.33645/cnc.2023.10.45.10.49.
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The purpose of this study is to examine the characteristics of English track international students and the issues and tasks of Korean language education for them, and to present directions. A survey on the needs of English track international student at D-University in Busan and interviews with related administrative and Korean language education experts were conducted. The questionnaire included the current status and satisfaction of Korean language classes, composition, and direction of education. English track international students are not essential to learn Korean because the admission criteria and major teaching language are English, and the purpose of learning was to adapt to Korean and college life. Interest in Korean classes was high, but satisfaction was moderate. Speaking and writing, vocabulary and grammar were selected as areas to learn, and topics related to real life and college life were preferred. There was also an opinion that modern culture, social studies and economics, and employment subjects should be opened as English track liberal arts. Although the number of participants is limited, this study is meaningful in that it examines the characteristics and curriculum of English track international students that will increase in the future and discusses issues and tasks.
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Smith, Rob. "What can the Welsh school music sector learn from the community music movement?" Journal of Popular Music Education 5, no. 1 (April 1, 2021): 55–70. http://dx.doi.org/10.1386/jpme_00043_1.
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This article draws on theories of creative development articulated by Sawyer and Green as well as reflecting upon data from case studies of projects run in Wales with community ensembles Wonderbrass, South Wales Intercultural Community Arts and London-based Kinetica Bloco. It proposes a model of learning for music education in Wales that promotes active creative participation and fosters the speaking of a musical language rather than simply the reading of it. In the context of Welsh Government’s recent education review, the article advocates a music policy of creative engagement, with musical materials that go beyond the pedagogy of imitation. Here I propose a creative engagement method that empowers participants to interact with musical materials by creating their own musical statements within a musical style or language, whether through extemporization, improvisation or composition.
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Bittner, M. "Surface Composition as Bridging." Journal of Semantics 18, no. 2 (May 1, 2001): 127–77. http://dx.doi.org/10.1093/jos/18.2.127.
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Wells-Jensen, Sheri, Jason Wells-Jensen, and Gabrielle Belknap. "Changing the Public's Attitude toward Braille: A Grassroots Approach." Journal of Visual Impairment & Blindness 99, no. 3 (March 2005): 133–40. http://dx.doi.org/10.1177/0145482x0509900302.
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This study addressed the effect of casual exposure to braille on the attitudes toward blindness and the use of braille of three groups of sighted university students: students in two sections of a general linguistics course for language arts teachers, one taught by a blind instructor (Group 1) and the other taught by a sighted instructor (Group 2), and students in an English composition class (Group 3). Overall, the respondents in Group 1 expressed the most positive attitudes toward blindness and toward braille. These results suggest that individual readers of braille can positively affect attitudes toward braille.
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M.Rish, Ryan, and Kristine E.Pytash. "Kindling the Pedagogic Imagination: Preservice Teachers Writing with Social Media." Voices from the Middle 23, no. 2 (December 1, 2015): 37–42. http://dx.doi.org/10.58680/vm201527616.
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In this essay, two teacher educators reflect on the experience of four preservice English/language arts teachers who participated in a social media project across seven university campuses. For the #walkmyworld project, the preservice teachers shared pictures and videos, annotated and wrote poetry, and read and responded to each other. The project helped the preservice teachers consider how they could support student writing in relationship to their identities, responsive audiences, and multimodal composition. As what counts as writing and who counts as a writer seems to be narrowing in classrooms, the project served to kindle the pedagogic imagination of the participants.
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Maskanah, Siti. "Improving Reading and Writing Ability of Beginning With The Cooperative Integrated Reading and Composition Method." Social, Humanities, and Educational Studies (SHEs): Conference Series 3, no. 3 (November 26, 2020): 1177. http://dx.doi.org/10.20961/shes.v3i3.46310.
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<pre><em>Reading is an asset for someone to study books and find written information. Reading for a student is also an asset so that they can participate in learning activities. This study aims to improve reading and writing skills beginning with the Cooperative Integrated Reading and Composition (CIRC) learning method. Besides that, it can also improve the ability to read and write at the beginning. This study uses the Cooperative Integrated Reading Composition (CIRC) learning method, this method is one of the integrated cooperative learning methods of reading and writing, where students are divided into several groups to improve their comprehension skills in reading, writing, understanding vocabulary and language arts. This research is able to improve the ability to read and write at the beginning.</em></pre>
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Dolesko, Svitlana. "ARTISTIC IMAGE OF UKRAINIAN FOLK COSTUME IN THE CONTEMPORARY UKRAINIAN ICON PAINTING ARTWORKS BY OLEKSANDR OKHAPKIN." Baltic Journal of Legal and Social Sciences, no. 2 (October 25, 2022): 52–58. http://dx.doi.org/10.30525/2592-8813-2022-2-9.
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This study offers an analysis of certain works by the contemporary Ukrainian icon painter Oleksandr Okhapkin. His works address the traditions of Ukrainian decorative and applied arts by impregnating the icon’s composition with typical examples of folk artworks of the Ukrainian people, with Ukrainian folk costume playing an important role among these artworks. Therefore, this article is aimed at interpreting the Christian image of the Mother of God as a Ukrainian Berehynia Woman and Mother, which can be seen in the complex of the depicted Ukrainian folk costume and its particular elements. The methodological basis included priority methods of art studies: historical method, art analysis method, comparison and generalization, comprehensive method, and interviewing method. Conclusions. An analysis of icons of the Mother of God has revealed the particularities of using examples of Ukrainian decorative and applied arts in the composition of icon painting works. It was ascertained that the Mother of God is presented as the legendary Berehynia Woman and Mother Earth. In the future, this topic deserves to be studied in greater depth and filled with new senses of contemporary significance, at the time when national self-identification of Ukrainians in the world is extremely necessary. In particular, this can be done using the figurative language of icon painting.
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Sim, Jiyoung. "A Study on the Liberal Education for International Students Using Content Based Instruction: Focusing on the Case of Adjunct Model in Korean Modern History Class." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 22 (November 30, 2022): 17–34. http://dx.doi.org/10.22251/jlcci.2022.22.22.17.
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Objectives The purpose of this study is to propose an whole model of liberal arts education based on content- based language instruction for international students, and furthermore, to present and share specific educational plans through actual cases. This was sought as one of the ways to solve the problems of the current international student education.
Methods the literature research method was applied to understand the current status and problems of international student education and to confirm the necessity of the content-based language education. Subsequently, a case study was conducted on the class of ‘Understanding Korean Modern History’ which has been appling the adjunct model for years, and based on this, we extracted the effective class composition and scaffoldings for international student education.
Results In order to compensate for the problems of the current international student education, this study presented a foreign student liberal arts class model that applied the content-based instruction step by step. In particular, it was confirmed through related cases that the adjunct model can be an alternative class form for early-stage international students.
Conclusions Liberal education for international students should be conducted in the direction of enhancing Korean language and the ability to adapt to Korean universities and complete their studies along with content education. And for this, it is necessary to utilize a model that applies content-based language education. In particular, the adjunct model is suitable as a customized teaching method for international students before entering a full-fledged major class.
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Sokolov, Cvetka. "Self-evaluation of rater bias in written composition assessment." Linguistica 54, no. 1 (December 31, 2014): 261–75. http://dx.doi.org/10.4312/linguistica.54.1.261-275.
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No assessment is entirely free of bias. This paper presents findings concerning the way raters in the research group evaluate the extent to which they are influenced by various types of rater bias when grading their students’ written compositions. The sources of bias covered in the article include the teacher’s knowing the student writer and his or her proficiency in English, the difficulty of the writing task, distressful content likely to trigger the rater’s emotional reaction, the test taker’s views clashing with those of the rater, students’ progress, and the like. The data were gathered by the participants in the study via a questionnaire. In addition, the researcher’s interpretation of the respondents’ answers was verified through interviews. Although the two research methods and self-evaluation have their drawbacks, the results reveal interesting, relevant and important information on aspects which make written composition assessment less reliable and valid. The findings confirm the need to raise raters’ awareness of the causes of bias to which they are most susceptible, bringing them closer to effectively addressing the problem of assessment bias. The research involving eleven lecturers teaching Language in Use at the Department of English and American Studies at the Faculty of Arts, University of Ljubljana, is a part of a much larger project based on the author’s PhD thesis.
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Fiorenza, Giancarlo. "Penelope’s Web: Francesco Primaticcio’s Epic Revision at Fontainebleau*." Renaissance Quarterly 59, no. 3 (2006): 795–827. http://dx.doi.org/10.1353/ren.2008.0370.
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Francesco Primaticcio designed his celebrated Galerie d’Ulysse at Fontainebleau (now destroyed) at a time when the epic genre was being updated and redefined. One of the most popular scenes from the gallery, Ulysses and Penelope recounting their adventures to one another in bed (from book 23 of theOdyssey),was adapted and revised in an independent composition by Primaticcio himself:Ulysses and Penelope(Toledo Museum of Art, ca. 1560). In contrast to the Fontainebleau mural, the artist’s self-conscious, refined pictorial language for his canvas converts epic energy into lyric sentimentality. As a result, Penelope becomes the central focus of the new composition. Through the language of gesture the painting stresses such themes as beauty and desire, and further employs such prized poetic devices as reversal (peripeteia) and recognition (anagnorisis). By responding to the formal prescriptions of both the epic and romance genres, Primaticcio exploits the expressive and visual potential of the Homeric episode in an utterly novel way. The painting opens up questions into ways of reading, viewing, and interpreting mythic subject matter in sixteenth-century France.
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Kwaśnik, Monika. "Między wiedzą a widzeniem. O sposobach przedstawiania świata w „Balzakianach” Jacka Dehnela." Załącznik Kulturoznawczy, no. 1 (2014): 410–29. http://dx.doi.org/10.21697/zk.2014.1.18.
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Jacek Dehnel shows in Balzakiana his interest in tradition of realistic prose with a distinctive method of narration and an area of interests. The article shows the constant tension between the methods of depicting the world based on knowledge and an imitation of perceptual processes. This idea is characteristic of the newest prose composition. The article examines the multiple connections of the narration of Balzakiana to plastic arts and the language of the film. Jacek Dehnel’s Balzakiana reminds people about problems which haven’t changed despite the passage of years. Those problems are expressed by means referring to the visuality of any modern artistic media.
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Caruso, Giusy, and Luc Nijs. "When arts and science meet: Digital technology in artistic research." Journal of Music, Technology and Education 13, no. 2 (December 1, 2021): 117–40. http://dx.doi.org/10.1386/jmte_00019_1.
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In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art‐science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches to music teaching and learning.
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KASPER, WALTER. "Presuppositions, Composition, and Simple Subjunctives." Journal of Semantics 9, no. 4 (1992): 307–31. http://dx.doi.org/10.1093/jos/9.4.307.
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Reid, Stephanie Francesca, and Lindsey Moses. "Rewriting deficit storylines: the positioning of one fourth-grader as comics expert." English Teaching: Practice & Critique 20, no. 3 (March 11, 2021): 298–312. http://dx.doi.org/10.1108/etpc-07-2020-0075.
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Purpose This study took place in an elementary English language arts classroom during a comics writers workshop unit and focused on one fourth-grade author. This paper aims to explain how a fourth-grade student receiving special education services positions himself and is positioned by others as an expert during a unit on comics. When students’ knowledge about multimodal composition is recognized and valued, the classroom community can become a place where students can author themselves into positions of power and authority. Design/methodology/approach Informed by sociocultural theory, social semiotics and positioning theory, the authors conducted a qualitative study to analyze the focal participant’s published comic, classroom interactions and interview data using open and in vivo coding systems. Findings The findings documented how the focal participant was positioned as an expert by others and how he positioned himself as an expert. The findings also explore how this fourth-grade comics expert left an authorial residue that extended beyond the boundaries of this particular comics unit, impacting his teachers and future iterations of the comics workshop. Originality/value Scholars have theorized multimodal approaches to reading and writing pedagogy as an equitable enterprise that values meaning-makers using a wide variety of semiotic resources. This study shows how incorporating an explicit multimodal composition opportunity allowed one fourth-grade author space to craft a comic and re-author traditional classroom positions of power.
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Zavadskay, Anastasiya V. "Word-formation neologisms of the coronavirus pandemic era in the media space." Neophilology, no. 2 (2022): 286–94. http://dx.doi.org/10.20310/2587-6953-2022-8-2-286-294.
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We present the results of the analysis of word-formation neologisms that entered the Russian language during the coronavirus pandemic. The texts of the media space, which served as the research material, clearly demonstrate the active processes currently taking place in the voca-bulary and word-formation of Russian language. The neologisms selected by the continuous sam-pling method are classified by us into groups depending on the methods of word-formation. The most frequent methods of usual word-formation are the suffix method and the stem and word composition. Along with the usual methods in the word-formation of “pandemic” neologisms, non-usual methods of word formation (contamination, interword overlap, graphohybridization,) are often used. Drawing an analogy with the English-language media discourse, we point out that some of the contaminants entered the Russian language in a ready-made form as a result of bor-rowing from the English language. We also show the phenomena of polysemy and synonymy among “pandemic” neologisms. We conclude that the neologisms of the pandemic era reflect the general trends occurring in the word-formation of the Russian language in the 21st century. The data obtained can be used in the dictionary of the Russian language of the pandemic era, as well as in the courses of lectures on lexicology and word-formation of the Russian language.
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Joshi, Manisha. "LITERATURE – “A PAINTING OF AN INWARD EYE”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3518.
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After fine arts, literature has been another oldest form of the most creative and powerful means of expression. A writer is the most gifted artist, he is not only a juggler of words, but also a painter who with the same dexterity, portrays life in its most realistic and varied forms. Hence, literature whether poetry, drama, prose or fiction can be considered as the finest of arts. Newman has rightly defined literature as, ‘thought expressed in language’ but certainly this thought needs to be subjective for, all other fine-arts like literature are personal in expression, even though they differ in their media. Hence whether a novelist, poet, painter or sculptor, when create their art it is basically their personal vision which they present or communicate through their chosen medium. The close inter-relation between literature and fine-arts can never be denied, that is why it is said that, ‘a poem is a talking picture, while a painting is mute poetry’. A poet in his creative moments is an inspired being, participating in the eternal and infinite and the one. He tries to arrest the divine moments and tries to redeem them from decay. These inspired moments are transitory for from them arises quick succession of thoughts and feelings. Imagination fades yet it illuminates and paints the composition which bears a reflection to the imagination.
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Chen, Yiming. "Exploring the Spatial Expression of New Meticulous Figure Painting." Highlights in Art and Design 4, no. 1 (August 28, 2023): 35–38. http://dx.doi.org/10.54097/hiaad.v4i1.11658.
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Painting space is an important component of painting in visual arts. This paper takes the spatial expression form of "New Meticulous Painting" as the starting point, first briefly expounds the concepts of "New Meticulous Figure Painting" and "Painting Space", and summarizes and refines the general presentation methods of "New Meticulous Figure Painting" on the visual screen. For example, it has the characteristics of "Surreal Atmosphere", "Grey Tone", "Weakened Lines" and "Rich in Modern Urban Elements". Secondly, I try to understand the diversity of spatial expression forms of figure painting in the context of "New Meticulous Painting", combine my own creative works with practice, and make a multi-dimensional deconstruction analysis of the composition of painting language forms of spatial expression in the visual picture of my own works, aiming at exploring the artistic concept and technique composition of painting creation, so as to give the author more ideas and possibilities for his own creation.
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CHECHIK, Valentina. "VADIM MELLER’S ART: ON THE WAY TOWARDS CONSTRUCTIVIST ABSTRACTION." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (June 30, 2023): 128–39. http://dx.doi.org/10.33625/hudprom2023.01.128.
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This article discusses the features of the refraction of the techniques and principles of abstract art in V. Meller’s early works. The research field comprised both widely known and completely unknown artist’s easel works and theatrical projects from the late 1910s to the early 1920s. The stylistic vocabulary of Meller’s works of this period in art history literature is rightly associated with CuboFuturism. At the same time, it is easy to see how the artist reaches the borders of Cubo-Futurist thinking – to abstract compositions. In the painting Futuristic Composition (1919–1920), and in the theatre sheets for B. Nijinska’s ballets (1918–1921), and for the plays (Maitre Patlin (1919) and Mazepa (1922)), the revealing of the rhythmic architecture of structural elements (color geometry such as circles, arcs, pointed triangles, and trapezoids), and means of their dynamic development are directly linked to the plastic laws of abstract art. Each of these works is a compositional experience. The artist builds the composition on the dominance of color and form, their plastic, rhythmic and semantic potential. At the same time, by “deobjectifying” a pictorial motif to an ornamental formula, the artist does not completely cancel the real form but leaves open the possibility of its returning to the material world. The same principles of form constructing are retained in the pictorial Sketch to the Portrait exhibited together with Portrait of T. Shevchenko at the 2nd Report Exhibition of the Ukrainian Academy of Arts (1921). The plastic codes of abstract art saturated V. Meller’s stage design for the early Berezil productions of 1923. Despite the use of K. Malevich’s Suprematist vocabulary in the stage backdrops for the production of R.U.R., A. Exter’s art and the language of her lyrically expressive and dynamic abstractions have always remained a source of creative inspiration. This was precisely the kind of composition V. Meller, transferred into the three-dimensional space of the stage in the production of Gas (1923). Its scenography marked the inner logic and independence of the artist’s movement towards subsequent structural-linear spatial modules (The New Ones Are Coming (1923)), which designated a brilliant period of “orthodox” theatrical constructivism on the Ukrainian stage.
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Korzhova, Inessa N. "Forms of actualization of the historical past on posters and in poems of the Great Patriotic War." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 81 (2023): 225–40. http://dx.doi.org/10.17223/19986645/81/12.
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The article is dedicated to comprehending the variants of actualization of the historical past in poetry and on posters of 1941–1945. Fostering respect for the past became one of the goals of the pre-war years’ propaganda. But art revealed stronger forms of time connection than the mere knowledge of history by contemporaries. The aim of the article is to establish similar types of representation of the past in poetry and poster art. According to Benveniste’s “principle of nonredundancy”, the codes of the arts are mutually untranslatable, so the objectives of the study include establishing the specifics of the forms of actualizing the past in each of arts under study. The simplest type is the spatial (on the poster) or temporal (in poetry) division of history and modernity. Narrative and comparative techniques, each in their own way, speak about the possibility of victory through an appeal to the precedent. On the poster, a multi-frame composition conveys this message. In poetry, composition is a level that is almost not used to express the concepts I am interested in. Retrospection can be introduced in any part of the text and is supported by comparative constructions, semantics of adverbs and pronoun, the special dynamics of verb tense forms. In other types, history is present in modernity. This can happen indirectly through the inclusion in the plane of the present cultural signs of the past: monuments or books. They do not point to real events, but to actual historical ideas and myths. The most effective force is works that implement the metaphor of the past helping in the battles. For this, poster artists created a special two-level composition with a coloristic opposition of the planes and their comparison at the level of poses’ and figures’ identity. The past personifies in the person of the glorified generals and naval commanders, and poetry also recreates the resurrection and participation in modernity of nameless, seemingly unheroic ancestors. The pragmatics of addressing the past in such works was different – they evoked a sense of responsibility to history. The past was also actualized in the concept of the immortal collective body of the people. When implementing this idea, poetry does not abandon the linear development of time, describing the historical path of the people as the centuries-old life of the giant individual. The poster, which focuses on only one point, reveals the soul of ancient warriors in contemporaries. Posters with deformed shadows become the means of embodying this idea. Finally, the past appears in the form of reincarnation of heroes. Formally such works are devoid of a second plane, but it is present in the form of allusions that establish an internal or external similarity of modern heroes with a historical person. This type, like the previous one, speaks of the embodiment of national typical features in contemporaries – the most reliable form of the presence of the past in the present.
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Goltsman, Maria. "Об общих графических закономерностях восприятия живописи и балета: мнемоническая форма танца [On some graphic regularities of perception in painting and dance: Mnemonic form of dance]." Sign Systems Studies 31, no. 2 (December 31, 2003): 393–419. http://dx.doi.org/10.12697/sss.2003.31.2.05.
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On some graphic regularities of perception in painting and dance: Mnemonic form of dance. The present article handles some problems of the mechanisms of visual perception in painting and classical ballet. It proceeds from the assumption that the interaction between those arts is based on the similarity of their formal languages. The main attention focuses on the questions of how and why does the classical ballet use the code of painting? The interaction between pictorial art and ballet occurs through the theatre, which is considered to be a picture coming alive in European tradition. This principle is taken here as a main method of analysis of ballet art and it is used in two ways. The first handles a problem of composition of a ballet as a theatrical performance. The second analyses the movement itself — the language of the choreography as such. The last part of the article contains the answer to the question — why does the ballet need such aspects of pictorial code as frontal composition of a picture coming alive, memory photo, multiplication of the similar images and repeating movements. Dance is dynamic, picture is stable. To represent a movement, the painting uses the rhythm and visual repeating of lines and contours. It helps to construct an illusion of motion and brings the temporal aspect into a static piece of art. Whereas different stops, poses and fixations in ballet help it to visualize the movement, to capture the space. This is one of the ways for ballet to leave its trace in space as much as in the memory of the spectators, to become fixed in space, to prevent the dispersion of dance in the thin air and to surmount in such a way the ephemera characteristic of it.
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Vasileva, Olga A. "Michel Butor’s “Improvisations sur Rimbaud”: interpretation of the poet’s works and language." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 44–49. http://dx.doi.org/10.20339/phs.1-21.044.
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This article discusses one relatively unknown aspect of the French writer and philosopher, Michel Butor’s works — his literary criticism through the example of “Improvisations sur Rimbaud”. Poet’s works are investigated by Butor unattainable apart from the stages of his life, and the most significant poems — in the context of the epistolary heritage of Rimbaud. Most attention is paid to the chapter “Improvisations”, dedicated to the collection of Rimbaud’s “Illuminations”: to the development of the theme of the city and its transformation, the role of structural rhyme and reprise at the beginning of the line overturning the classical system of versification, the appearance in the texts of Rimbaud mathematical structure. The new poetic language, the innovative artistic techniques of the poet , which are used in the composition of a number of texts in the collection, comprehensively explored by Butor, had an undeniable influence on the direction of the research for new literary forms in the works of Butor: his novel “Degrès”, which uses the numerical structure as a method of total description of reality as well as a number of texts written in the genre of experimental prose in which fragmentation is elevated to an aesthetic principle, the idea of synthesizing the arts is implemented and endless intertextual interactions are created.