Academic literature on the topic 'Japanese language Composition and exercises Case studies'

The aims of this study are (1) to investigate the frequency, sources, and characteristics of foreign language anxiety regarding speaking activities in the case of learners of the Japanese language at two Croatian institutions of higher education, and (2) to determine which speaking activities anxious learners of Japanese in Croatia would willingly participate in, while remaining sufficiently challenged by the tasks to gain new or reinforce previously acquired linguistic knowledge. A questionnaire was distributed to 65 students at the University of Pula bachelor’s program in Japanese language and culture and the University of Zagreb’s Japanese studies program in February and March of 2018. The results point to lower than expected self-assessment of Japanese speaking competence and high levels of Japanese speaking anxiety, particularly due to the fear of making mistakes, the presence of other individuals relevant to the learning process (classmates, teachers, other native speakers of Japanese), and a lack of activities focused on meaningful interaction. Participant experiences with various learning methods point to their willingness to participate in non-structured, improvisational pair conversation exercises and the potential of these activities to help learners overcome debilitating language anxiety.

Abstract The Japanese discipline of international relations has been understood as a product of interaction with its Western other, formed and developed much like Japanese contested identity. But although much attention has been paid to how the discipline emerged and evolved, very little has been written about how the discipline looks now. To remedy that, we apply a sociology of knowledge perspective to find out whether the Japanese discipline of IR does still possess distinct qualities or whether there has been growing influence from its Euro-American counterpart. We proceed in two steps: (a) We analyze 175 articles from the Japanese language IR journals Kokusai seiji, Kokusai mondai, Kokusai anzen hoshō, Heiwa kenkyū, Ajia kenkyū, Revaiasan and Nenpō seijigaku, and dissect them according to topics, focus, author background and theories/methods used; (b) We conduct four case studies of IR education at Japanese universities to demonstrate how the discipline is taught, with a focus on lecturer background, experience and syllabus composition. Our findings suggest that although there remains a preoccupation with diplomatic history, loose methodology and either realist or atheoretical studies, there is a clear trend of convergence toward Euro-American standards, especially in university education.

Colour, light, shadows. The chapter deals with the role of these compositional means in the minimal expression. They are considered to be the most important means of the minimal composition and they are compared to the idea and space. In the case of the minimal expression, colour is not an adornment but the language of the form. Traditionally, minimalism has been associated with the solutions in grey or white, monochromic colours. However, polychromic minimalism with a prevailing geometrical simplicity in the form and space but with more or less variable polychromic surfaces should not be forgotten either. Light is the most important element in modelling and formation of the space, volume and colour. Light in minimalism is not only the source of lighting but also a compositional means creating a specific meditation mood, exposing textures, transparent structures and the form. A tendency of contemporary architecture is to open the interior spaces of a building to light as much as possible. Shadows make a contrast to light. In a symbolic way, it is considered as the second side, contrary to life, that is necessary to the equilibrium. The soul and vitality are understood as the shadow. It is a very effective means of expression but, like a natural light, it is unstable, makes a movement, creates a specific mood, dematerialises, divides and breaks the form. Dimension, symmetry–asymmetry, integrity. A dimension in architecture operates as a means of the artistic quality both of the composition and the form. Suggestiveness of the building is often dependent on the size. Tendency of the minimal expression towards reduction or diminishing is a basic one; it is encoded in the very concept of the minimum. However, it is not a physical or direct reduction of the size but rather the purification that makes the concrete form or space empty, seeking to maximally decrease the number of structural elements. A specific rate between the apertures and the plane of the blank wall, typical of the minimal expression, usually changes to the scale of the building. It looks considerably larger, more massive than in reality. Symmetry-asymmetry. It cannot be stated that symmetry or asymmetry is typical of the minimal expression. Though at the first sight it seems that minimalism is characterised by geometry, the right order, and at the same time, by symmetry but we can present a number of examples continuing the asymmetric tradition of the Japanese Zen. Integrity is the most important quality of composition, without integrity we have no composition. In the composition, all elements must be connected into the whole complex. Aiming at the integrity of the composition, the simplest way is to give a geometrical form of the building. Therefore, displaying of geometrical regularities in architecture is one of the forms of artistic expression and a guarantee of the integrity of the composition. Sharpened integrity manifesting itself by blankness of the forms, the monolithic character is a necessary condition for the minimal expression. Statics–dynamics. In the chapter there are discussed contradictory problems of statics, stability, dynamics and mobility in the contemporary minimal architecture. In architecture, we often observe some sluggishness and static character. The static character is mostly typical of the architecture heritage of ancient civilizations. Dynamism and multi-plane character became distinct as a leading motif in architecture of the 20th century. Essential influence of the dynamics character of contemporary forms, among them also minimal ones is made by the economical and scientifically-technological level of the society, its dynamism, intellectuality and metaphysics. Contemporary architecture is perceived as having not statics but stable form laid out dynamically in the space. In the contemporary context, dynamic models are especially attractive not only due to the fact that they propose flexible means of behaviour in active environments but also because they suggest thinking about lifeless, static forms as being dynamical, alive, changing forms of “life”, interacting with the environment and changing it. When the form of dynamic objects integral, laconic, clean and not overcrowded, then it conforms to the characteristics of the minimal expression. Most often these are not “hand”, angular geometrical forms, these dominate streamline, plastic surfaces that make the image of impetuosity, mobility and spinning. It is proven that the minimal form in the contemporary architecture may be not only static but also dynamic. Santrauka Be formos neįmanoma jokia architektūra, o minimalizmo atveju ji yra išskirtinai specifiška, vis dėlto minimalistinės raiškos pobūdį stipriai veikia įvairios kompozicinės priemonės. Straipsnyje aptariami įvairūs, siejami su minimalistine raiška, kompozicinių priemonių panaudojimo aspektai. Analizuojant architektūrinius objektus, daug kas priklauso nuo jų spalvinio pobūdžio, šviesos, šešėlių žaismo panaudojimo, jų masto, simetriškumo ar asimetrijos, vientisumo ar daugialypiškumo, nuo to, ar turima galvoje dinamiška gyvybės forma, atvira išorinėms įtakoms, ar statiškas objektas. Visuotinai yra susiformavę tam tikri minimalistinės raiškos stereotipai, pvz.: kad minimalistinei architektūrai yra būdinga balta spalva ar bent jau achromatiniai tonai (pilka, juoda), smulkumas, simetrija ir statika. Šiame straipsnyje siekiama paneigti minėtus stereotipus, pateikiant spalvingojo minimalizmo, asimetrinių ir dinamiškų minimalistinių architektūros objektų pavyzdžius, be to, atskleidžiamas jų tūrių masės ir vientisumo charakteris, šviesos ir šešėlių kompozicinė svarba.

07–198Agulló, G. (U Jaén, Spain; gluque@jaen.es), Overcoming age-related differences. ELT Journal (Oxford University Press) 60.4 (2006), 365–373.07–199Ammar, Ahlem (U de Montréal, Canada; ahlem.ammar@umontreal.ca) & Nina Spada, One size fits all? Recasts, prompts, and L2 learning. Studies in Second Language Acquisition (Cambridge University Press) 28.4 (2006), 543–574.07–200Bartram, Brendan (U Wolverhampton, UK), An examination of perceptions of parental influence on attitudes to language learning. Educational Research (Routledge/Taylor & Francis) 48.2 (2006), 211–221.07–201Bordag, Denisa (U Leipzig, Germany), Andreas Opitz & Thomas Pechmann, Gender processing in first and second languages: The role of noun termination. Journal of Experimental Psychology: Learning, Memory, and Cognition (American Psychological Association) 32.5 (2006), 1090–1101.07–202Brown, Jill (Monash U, Australia), Jenny Miller & Jane Mitchell, Interrupted schooling and the acquisition of literacy: Experiences of Sudanese refugees in Victorian secondary schools. Australian Journal of Language and Literacy (Australian Literacy Educators' Association) 29.2 (2006), 150–162.07–203Castagnaro, P. (Temple U, Japan), Audiolingual method and behaviorism: From misunderstanding to myth. Applied Linguistics (Oxford University Press) 27.3 (2006), 519–526.07–204Chang, Anna Ching-Shyang & John Read (Hsing-Wu College, Taiwan), The effects of listening support on the listening performance of EFL learners. TESOL Quarterly 40.2 (2006), 375–397.07–205Cieślicka, Anna (Adam Mickiewicz U, Poznań, Poland), Literal salience in on-line processing of idiomatic expressions by second language learners. Second Language Research (Sage) 22.2 (2006), 115–144.07–206Cots J. (U Lleida, Spain; jmcots@dal.udl.es), Teaching ‘with an attitude’: Critical Discourse Analysis in EFL teaching. ELT Journal (Oxford University Press) 60.4 (2006), 336–345.07–207Curdt-Christiansen, Xiao Lan (Nanyang Technological U, Singapore), Teaching and learning Chinese: Heritage language classroom discourse in Montreal Scots in contemporary social and educational context. Language, Culture and Curriculum (Multilingual Matters) 19.2 (2006), 189–207.07–208Ellis, Nick C. (U Michigan, USA), Selective attention and transfer phenomena in L2 acquisition: Contingency, cue competition, salience, interference, overshadowing, blocking, and perceptual learning. Applied Linguistics (Oxford University Press) 27.2 (2006), 164–194.07–209Ellis, Rod (U Auckland, New Zealand; r.ellis@auckland.ac.nz), Modelling learning difficulty and second language proficiency: The differential contributions of implicit and explicit knowledge. Applied Linguistics (Oxford University Press) 27.3 (2006), 431–463.07–210Ellis, Rod (U Auckland, New Zealand; r.ellis@auckland.ac.nz) & Younghee Sheen, Reexamining the role of recasts in second language acquisition. Studies in Second Language Acquisition (Cambridge University Press) 28.4 (2006), 575–600.07–211Erlam, R. (U Auckland, New Zealand), Elicited imitation as a measure of L2 implicit knowledge: An empirical validation study. Applied Linguistics (Oxford University Press) 27.3 (2006), 464–491.07–212Farrell, Thomas S. C. (Brock U, Canada; tfarrell@brocku.ca) & Christophe Mallard, The use of reception strategies by learners of French as a foreign language. The Modern Language Journal (Blackwell) 90.3 (2006), 338–352.07–213Folse, Keith S. (U Central Florida, USA), The effect of type of written exercise on L2 vocabulary retention. TESOL Quarterly 40.2 (2006), 273–293.07–214Goad, Heather (McGill U, Montreal, Canada) & Lydia White, Ultimate attainment in interlanguage grammars: A prosodic approach. Second Language Research (Sage) 22.3 (2006), 243–268.07–215Gullberg, Marianne (Max Planck Institute for Psycholinguistics, Germany; marianne.gullberg@mpi.nl), Some reasons for studying gesture and second language acquisition (Hommage à Adam Kendon). International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.2 (2006), 103–124.07–216Hall, Joan Kelly, An Cheng & Matthew Carlson (Pennsylvania State U, USA), Reconceptualizing multicompetence as a theory of language knowledge. Applied Linguistics (Oxford University Press) 27.2 (2006), 220–204.07–217Harada, Tetsuo (Waseda U, Japan; tharada@waseda.jp), The acquisition of single and geminate stops by English-speaking children in a Japanese immersion program. Studies in Second Language Acquisition (Cambridge University Press) 28.4 (2006), 601–632.07–218Hawkey, Roger (U Bristol, UK; roger@hawkey58.freeserve.co.uk), Teacher and learner perceptions of language learning activity. ELT Journal (Oxford University Press) 60.3 (2006), 242–252.07–219Hawkins, Roger (U Essex, UK) & Hajime Hattori, Interpretation of English multiplewh-questions by Japanese speakers: A missing uninterpretable feature account. Second Language Research (Sage) 22.3 (2006), 269–301.07–220Hayes-Harb, Rachel (U Utah, USA), Native speakers of Arabic and ESL texts: Evidence for the transfer of written word identification processes. TESOL Quarterly 40.2 (2006), 321–339.07–221Hirvela, Alan (Ohio State U, USA; hirvela.1@osu.edu), Computer-mediated communication in ESL teacher education. ELT Journal (Oxford University Press) 60.3 (2006), 233–241.07–222Hong-Nam, Kyungsim (U North Texas, USA; ksh0030@unt.edu) & Alexandra Leavell, Language learning strategy use of ESL students in an intensive English learning context. System (Elsevier) 34.3 (2006), 399–415.07–223Hopp, Holger (U Groningen, the Netherlands), Syntactic features and reanalysis in near-native processing. Second Language Research (Sage) 22.3 (2006), 369–397.07–224Jungheim, Nicholas (Waseda U, Japan; jungheim@waseda.jp), Learner and native speaker perspectives on a culturally-specific Japanese refusal. International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.2 (2006), 125–143.07–225Kim, Youngkyu (Ewha Womens U, Korea), Effects of input elaboration on vocabulary acquisition through reading by Korean learners of English as a Foreign Language. TESOL Quarterly 40.2 (2006), 341–373.07–226Lai, Chun & Yong Zhao (Michigan State U, USA; laichun1@msu.edu), Noticing and text-based chat. Language Learning & Technology (University of Hawaii) 10.3 (2006), 102–120.07–227Lee, Siok H. & James Muncie (Simon Fraser U, Canada), From receptive to productive: Improving ESL learners' use of vocabulary in a postreading composition task. TESOL Quarterly 40.2 (2006), 295–320.07–228Lee, Y. (DePaul U, USA; ylee19@depaul.edu), Towards respecification of communicative competence: Condition of L2 Instruction or its objective?Applied Linguistics (Oxford University Press) 27.3 (2006), 349–376.07–229Lew, Robert (Adam Mickiewicz U, Poznań, Poland; rlew@amu.edu.pl) & Anna Dziemianko, A new type of folk-inspired definition in English monolingual learners' dictionaries and its usefulness for conveying syntactic information. International Journal of Lexicography (Oxford University Press) 19.3 (2006), 225–242.07–230Liaw, Meei-ling (National Taichung U, Taiwan; meeilingliaw@gmail.com), E-learning and the development of intercultural competence. Language Learning & Technology (University of Hawaii) 10.3 (2006), 49–64.07–231Lieberman, Moti (American U, USA; aoshima@american.edu), Sachiko Aoshima & Colin Phillips, Nativelike biases in generation ofwh-questions by nonnative speakers of Japanese. Studies in Second Language Acquisition (Cambridge University Press) 28.3 (2006), 423–448.07–232Lin, Huifen (Kun Shan U, China; huifen5612@yahoo.com.tw) & Tsuiping Chen, Decreasing cognitive load for novice EFL learners: Effects of question and descriptive advance organisers in facilitating EFL learners' comprehension of an animation-based content lesson. System (Elsevier) 34.3 (2006), 416–431.07–233Liu, Meihua (Tsinghua U, China; ellenlmh@yahoo.com), Anxiety in Chinese EFL students at different proficiency levels. System (Elsevier) 34.3 (2006), 301–316.07–234Lotz, Anja (Philipps-Universität Marburg, Germany) & Annette Kinder, Transfer in artificial grammar learning: The role of repetition information. Journal of Experimental Psychology: Learning, Memory, and Cognition (American Psychological Association) 32.4 (2006), 707–715.07–235Lozano, Cristobal (Universidad Autónoma de Madrid, Spain), Focus and split-intransitivity: The acquisition of word order alternations in non-native Spanish. Second Language Research (Sage) 22.2 (2006), 145–187.07–236Macaro, Ernesto (U Oxford; ernesto.macaro@edstud.ox.ac.uk), Strategies for language learning and for language use: Revising the theoretical framework. The Modern Language Journal (Blackwell) 90.3 (2006), 320–337.07–237McCafferty, Steven (U Nevada, USA; mccaffes@unlv.nevada.edu), Gesture and the materialization of second language prosody. International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.2 (2006), 197–209.07–238Nassaji, Hossein (U Victoria, Canada; nassaji@uvic.ca), The relationship between depth of vocabulary knowledge and L2 learners' lexical inferencing strategy use and success. The Modern Language Journal (Blackwell) 90.3 (2006), 387–401.07–239Palfreyman, David (Zayed U, United Arab Emirates; David.Palfreyman@zu.ac.ae), Social context and resources for language learning. System (Elsevier) 34.3 (2006), 352–370.07–240Qing Ma (U Louvain, Belgium) & Peter Kelly, Computer assisted vocabulary learning: Design and evaluation. Computer Assisted Language Learning (Routledge/Taylor & Francis) 19.1 (2006), 15–45.07–241Reinders, Hayo & Marilyn Lewis (U Auckland, NZ), An evaluative checklist for self-access materials. ELT Journal (Oxford University Press) 60.3 (2006), 272–278.07–242Rule, Sarah (U Southampton, UK) & Emma Marsden, The acquisition of functional categories in early French second language grammars: The use of finite and non-finite verbs in negative contexts. Second Language Research (Sage) 22.2 (2006), 188–218.07–243Shin, Dong-Shin (U Massachusetts, Amherst, USA; dongshin@educ.umass.edu), ESL students' computer-mediated communication practices: Context configuration. Language Learning & Technology (University of Hawaii) 10.3 (2006), 65–84.07–244Sime, Daniela (U Strathclyde, UK; daniela.sime@strath.ac.uk), What do learners make of teachers' gestures in the language classroom?International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.2 (2006), 211–230.07–245Slabakova, Roumyana (U Iowa, USA), Is there a critical period for semantics?Second Language Research (Sage) 22.3 (2006), 302–338.07–246Slevc, L. Robert (U California, San Diego, USA; slevc@psy.ucsd.edu) & Akira Miyake, Individual differences in second-language proficiency: Does musical ability matter?. Psychological Science (Blackwell) 17.8 (2006), 675–681.07–247Sorace, Antonella (U Edinburgh, UK) & Francesca Filiaci, Anaphora resolution in near-native speakers of Italian. Second Language Research (Sage) 22.3 (2006), 339–368.07–248Stam, Gale (National-Louis U, USA; gstam@nl.edu), Thinking for speaking about motion: L1 and L2 speech and gesture. International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.2 (2006), 145–171.07–249Subrahmanyam, Kaveri (California State U, Los Angeles, USA) & Hsin-Hua Nancy Chen, A crosslinguistic study of children's noun learning: The case of object and substance words. First Language (Sage) 26.2 (2006), 141–160.07–250Sunderman, Gretchen (Florida State U, USA; gsunderm@fsu.edu) & Judith F. Kroll, First language activation during second language lexical processing: An investigation of lexical form, meaning, and grammatical class. Studies in Second Language Acquisition (Cambridge University Press) 28.3 (2006), 387–422.07–251ten Hacken, Pius (Swansea U, UK; p.ten-hacken@swansea.ac.uk), Andrea Abel & Judith Knapp, Word formation in an electronic learners' dictionary: ELDIT. International Journal of Lexicography (Oxford University Press) 19.3 (2006), 243–256.07–252Thi Hoang Oanh, Duong (Hue U, Vietnam; dthoangoahn@gmail.com) & Nguyen Thu Hien, Memorization and EFL students' strategies at university level in Vietnam. TESL-EJ (http://www.tesl-ej.org) 10.2 (2006), 17 pp.07–253Waters, A. (U Lancaster, UK; A.Waters@lancaster.ac.uk), Thinking and language learning. ELT Journal (Oxford University Press) 60.4 (2006), 319–327.07–254Williams, Peter (U East London, UK; pete.williams@rixcentre.org), Developing methods to evaluate web usability with people with learning difficulties. British Journal of Special Education (Blackwell) 33.4 (2006), 173–179.07–255Woodrow, Lindy J. (U Sydney, Australia; l.woodrow@edfac.usyd.edu.au), A model of adaptive language learning. The Modern Language Journal (Blackwell) 90.3 (2006), 297–319.07–256Yoshii, Makoto (Prefectural U Kumamoto, Japan; yoshii@pu-kumamoto.ac.jp), L1 and L2 glosses: Their effects on incidental vocabulary learning. Language Learning & Technology (University of Hawaii) 10.3 (2006), 85–101.07–257Yoshioka, Keiko (Leiden U, the Netherlands; k.yoshioka@let.leidenuniv.nl) & Eric Kellerman, Gestural introduction of ground reference in L2 narrative discourse. International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.2 (2006), 173–195.07–258Zyzik, Eve (Michigan State U, USA; zyzik@msu.edu), Transitivity alternations and sequence learning: Insights from L2 Spanish production data. Studies in Second Language Acquisition (Cambridge University Press) 28.3 (2006), 449–485.

06–475Al-Ali, Mohammed N. (Jordan U of Science and Technology, Irbid, Jordan), Genre-pragmatic strategies in English letter-of-application writing of Jordanian Arabic–English bilinguals. International Journal of Bilingual Education and Bilingualism (Multilingual Matters) 9.1 (2006), 119–139.06–476Anderson, Bill (Massey U College of Education, New Zealand; w.g.anderson@massey.ac.nz), Writing power into online discussion. Computers and Composition (Elsevier) 23.1 (2006), 108–124.06–477Blaır, Kristine & Cheryl Hoy (Bowling Green State U, USA; kblair@bgnet.bgsu.edu), Paying attention to adult learners online: The pedagogy and politics of community. Computers and Composition (Elsevier) 23.1 (2006), 32–48.06–478Blakelock, Jane & Tracy E. Smith (Wright State U, USA; jane.blakelock@wright.edu) Distance learning: From multiple snapshots, a composite portrait. Computers and Composition (Elsevier) 23.1 (2006), 139–161.06–479Bulley, Míchael, Wasthatnecessary?English Today (Cambridge University Press) 22.2 (2006), 47–49.06–480Chi-Fen, Emily Chen (National Kaohsiung First U of Science and Technology, Taiwan; emchen@ccms.nkfust.edu.tw), The development of email literacy: From writing to peers to writing to authority figures.Language Learning & Technology (http://llt.msu.edu) 10.2 (2006), 35–55.06–481Chikamatsu, Nobuko (DePaul U, Chicago, USA; nchikama@condor.depaul.edu), Developmental word recognition: A study of L1 English readers of L2 Japanese. The Modern Language Journal (Blackwell) 90.1 (2006), 67–85.06–482DePew, Kevin Eric (Old Dominion U, USA; Kdepew@odu.edu), T. A. Fishman, Julia E. Romberger & Bridget Fahey Ruetenik, Designing efficiencies: The parallel narratives of distance education and composition studies. Computers and Composition (Elsevier) 23.1 (2006), 49–67.06–483Dix, Stephanie (Hamilton, New Zealand; stephd@waikato.ac.nz), ‘What did I change and why did I do it?’ Young writers' revision practices. Literacy (Blackwell) 40.1 (2006), 3–10.06–484Donohue, James P. (London, UK; jdonohue@hillcroft.ac.uk), How to support a one-handed economist: The role of modalisation in economic forecasting. English for Specific Purposes (Elsevier) 25.2 (2006), 200–216.06–485Eisenhart, Christopher (U Massachusetts at Dartmouth, USA), The Humanist scholar as public expert. Written Communication (Sage) 23.2 (2006), 150–172.06–486Foy, Judith G. & Virginia Mann (Loyola Marymount U, USA; jfoy@lmu.edu), Changes in letter sound knowledge are associated with development of phonological awareness in pre-school children. Journal of Research in Reading (Blackwell) 29.2 (2006), 143–161.06–487Gruba, Paul (U Melbourne, Australia), Playing the videotext: A media literacy perspective on video-mediated L2 listening. Language Learning & Technology (http://llt.msu.edu) 10.2 (2006), 77–92.06–488Halliday, Lorna F. (MRC Institute of Hearing Research, Nottingham, UK) & Dorothy V. M. Bishop, Auditory frequency discrimination in children with dyslexia. Journal of Research in Reading (Blackwell) 29.2 (2006), 213–228.06–489Hayes, John R. (Carnegie Mellon U, USA) & N. Ann Chenoweth, Is working memory involved in the transcribing and editing of texts?Written Communication (Sage) 23.2 (2006), 135–149.06–490Hewett, Beth L. (Forest Hill, MD, USA; beth.hewett@comcast.net), Synchronous online conference-based instruction: A study of whiteboard interactions and student writing. Computers and Composition (Elsevier) 23.1 (2006), 4–31.06–491Hilton, Mary (U Cambridge, UK; mhiltonhom@aol.com), Damaging confusions in England's KS2 reading tests: A response to Anne Kispal. Literacy (Blackwell) 40.1 (2006), 36–41.06–492Hock Seng, Goh (U Pendikikan Sultan Idris, Malaysia) & Fatimah Hashim, Use of L1 in L2 reading comprehension among tertiary ESL learners. Reading in a Foreign Language (http://www.nflrc.hawaii.edu) 18.1 (2006), 26 pp.06–493Khuwaileh, Abdullah A. (Abu Dhabi, Al-ain, United Arab Emirates), Medical rhetoric: A contrastive study of Arabic and English in the UAE. English Today (Cambridge University Press) 22.2 (2006), 38–44.06–494Kondo-Brown, Kimi (U Hawaii at Manoa, USA), Affective variables and Japanese L2 reading ability. Reading in a Foreign Language (http://www.nflrc.hawaii.edu) 18.1 (2006), 17 pp.06–495Lee, Jin Sook (U California, USA), Exploring the relationship between electronic literacy and heritage language maintenance. Language Learning & Technology (http://llt.msu.edu) 10.2 (2006), 93–113.06–496Macaruso, Paul (Community College of Rhode Island, USA; pmacaruso@ccri.edu), Pamela E. Hook & Robert McCabe, The efficacy of computer-based supplementary phonics programs for advancing reading skills in at-risk elementary students. Journal of Research in Reading (Blackwell) 29.2 (2006), 162–172.06–497Magnet, Anne (U Burgundy, France; anne.magnet@u-bourgogne.fr) & Didier Carnet, Letters to the editor: Still vigorous after all these years? A presentation of the discursive and linguistic features of the genre. English for Specific Purposes (Elsevier) 25.2 (2006), 173–199.06–498Miller-Cochran, Susan K. & Rochelle L. Rodrigo (Mesa Community College, USA; susan.miller@mail.mc.maricopa.edu), Determining effective distance learning designs through usability testing. Computers and Composition (Elsevier) 23.1 (2006), 91–107.06–499Nelson, Mark Evan (U California, USA; menelson@berkeley.edu), Mode, meaning, and synaestesia in multimedia L2 writing. Language Learning & Technology (http://llt.msu.edu) 10.2 (2006), 55–76.06–500Nikolov, Marianne (U Pécs, Hungary; nikolov@nostromo.pte.hu), Test-taking strategies of 12- and 13-year-old Hungarian learners of EFL: Why whales have migraines. Language Learning (Blackwell) 56.1 (2006), 1–51.06–501Parks, Susan, Diane Huot, Josiane Hamers & France H.-Lemonnier (U Laval, Canada; susan.parks@lli.ulaval.ca), ‘History of theatre’ web sites: A brief history of the writing process in a high school ESL language arts class. Journal of Second Language Writing (Elsevier) 14.4 (2005), 233–258.06–502Pigada, Maria & Norbert Schmitt (U Nottingham, UK), Vocabulary acquisition from extensive reading: a case study. Reading in a Foreign Language (http://www.nflrc.hawaii.edu) 18.1 (2006), 28 pp.06–503Powell, Daisy (Institute of Education, U London, UK; d.powell@ioe.ac.uk), David Plaut & Elaine Funnell, Does the PMSP connectionist model of single word reading learn to read in the same way as a child?Journal of Research in Reading (Blackwell) 29.2 (2006), 229–250.06–504Reichelt, Melinda (U Toledo, USA; melinda.reichelt@utoledo.edu), English-language writing instruction in Poland. Journal of Second Language Writing (Elsevier) 14.4 (2005), 215–232.06–505Reilly, Colleen A. & Joseph John Williams (U North Carolina, USA; reillyc@uncw.edu), The price of free software: Labor, ethics, and context in distance education. Computers and Composition (Elsevier) 23.1 (2006), 68–90.06–506Reimer, Jason F. (California State U, USA; jreimer@csusb.edu), Developmental changes in the allocation of semantic feedback during visual word recognition. Journal of Research in Reading (Blackwell) 29.2 (2006), 194–212.06–507Richter, Tobias (U Cologne, Germany), What is wrong with ANOVA and Multiple Regression? Analyzing sentence reading times with hierarchical linear models. Discourse Processes (Erlbaum) 41.3 (2006), 221–250.06–508Roca De Larios, Julio (U of Murcia, Spain; jrl@um.es), Rosa M. Manchón & Liz Murphy, Generating text in native and foreign language writing: a temporal analysis of problem-solving formulation processes. The Modern Language Journal (Blackwell) 90.1 (2006), 100–114.06–509Spencer, Ken (U Hull, UK; k.a.spencer@hull.ac.uk), Phonics self-teaching materials for foundation literacy. Literacy (Blackwell) 40.1 (2006), 42–50.06–510Spooner, Alice L. R. (U Central Lancashire, UK; aspooner@uclan.ac.uk), Susan E. Gathercole & Alan D. 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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash vids (Kreisinger). Non-written slash forms such as slash vids (see Russo) and slash fanart (see Dennis) have received increased attention in recent years. This article continues the tradition of moving beyond fiction by considering the non-written form of slash manips, yet to receive sustained scholarly attention. Speaking as a practitioner—my slash manips can be found here—I perform textual analysis from an aca–fan (academic and fan) position of two Merlin slash manips by male Tumblr artist wandsinhand. My textual analysis is influenced by Barthes’s use of image semiotics, which he applies to the advertising image. Barthes notes that “all images are polysemous”, that underlying their signifiers they imply “a ‘floating chain’ of signifieds, the reader able to choose some and ignore others” (274). That said, the advertising image, he argues, constructs an “undoubtedly intentional […] signification”, making it ideally suited for analysis (270). By supplementing my analysis with excerpts from two interviews I conducted with wandsinhand in February and April 2013 (quoted here with permission), I support my readings with respect to the artist’s stated ‘intentional reading’. I then contextualise these readings with respect to canon (Merlin) representations and gay pornography—via the chosen sexual acts/positions, bukkake and doggystyle, of the pornographic base models, as selected by the artist. This approach allows me to examine the photo remix qualities of slash manips with respect to the artist’s intentions as well as how artistic choices of inclusion function to anchor meaning in the works. I describe these choices as the ‘semiotic significance of selection’. Together the readings and interviews in this article help illustrate the value of this form and the new avenues it opens for slash scholars, such as consideration of photo remix and male production, and the importance of gay pornography to slash. My interviews also reveal, via the artist’s own assessment of the ‘value’ of his practice, a tendency to devalue or overlook the significance of this particular slash form, affirming a real need for further critical engagement with this under-examined practice. Slash Photo Remix: Famous Faces, Porny Bodies Lessig defines remix culture as based on an activity of “rip, mix and burn” (12–5); while Navas describes it as a “practice of cut/copy and paste” (159)—the latter being more applicable to photo remix. Whereas Lessig is concerned primarily with issues of copyright, Navas is interested in remix’s role in aesthetics and the political economy. Within fan studies, slash vids—a form of video remix—has been a topic of considerable academic interest in recent years. Slash manips—a form of photo or image remix—however, has not attracted the same degree of interest. Stasi’s description of slash as “a non-hierarchical, rich layering of genres” points to the usefulness of slash manips as an embodiment of the process of slash; whereby artists combine, blend and mutate graphic layers from popular media with those from gay pornography. Aesthetics and the slash manip process are central concerns of this article’s consideration of slash photo remix. Slash manips, or slash photo montage, use image manipulation software (Adobe Photoshop being the community standard, see wandsinhand’s tutorial) to layer the heads of male fictional characters from stills or promotional images with scenes—static or moving—from gay pornography. Once an artist has selected pornographic ‘base models’ anatomically suited to canon characters, these models are often then repositioned into the canon universe, which in the case of Merlin means a medieval setting. (Works not repositioned and without added details from canon are generally categorised as ‘male celebrity fakes’ rather than ‘slash manips’.) Stedman contends that while many fan studies scholars are interested in remix, “studies commonly focus on examples of remixed objects rather than the compositional strategies used by remix composers themselves” (107). He advocates moving beyond an exclusive consideration of “text-centred approaches” to also consider “practice-” and “composer-centred” approaches. Such approaches offer insight into “the detailed choices composers actually make when composing” (107). He refers to recognition of the skills required by a remix composer as “remix literacy” (108). This article’s consideration of the various choices and skills that go into the composition of slash manips—what I term the ‘semiotic significance of selection’—is explored with respect to wandsinhand’s practice, coupling my reading—informed by my experience as a practitioner—with the interpretations of the artist himself. Jenkins defines slash as “reaction against” constructions of male sexuality in both popular media and pornography (189). By their very nature, slash manips also make clear the oft-overlooked connections between slash and gay pornography, and in turn the contributions of gay male participants, who are well represented by the form. This contrasts with a tendency within scholarship to compare slash with heterosexual female forms, such as the romance genre (Salmon and Symons). Gay pornography plays a visible role in slash manips—and slash vids, which often remix scenes from popular media with gay cinema and pornography. Slash as Romance, Slash as Pornography Early scholarship on slash (see Russ; Lamb and Veith) defines it as a form of erotica or pornography, by and for women; a reductive definition that fails to take into account men’s contribution, yet one that many researchers continue to adopt today. As stated above, there has also been a tendency within scholarship to align the practice with heterosexual female forms such as the romance genre. Such a tendency is by and large due to theorisation of slash as heterosexual female fantasy—and concerned primarily with romance and intimacy rather than sex (see Woledge). Weinstein describes slash as more a “fascination with” than a “representation of” homosexual relationships (615); while MacDonald makes the point that homosexuality is not a major political motivator for slash (28–9). There is no refuting that slash—along with most fannish practice—is female dominated, ethnographic work and fandom surveys reveal that is the case. However there is great need for research into male production of slash, particularly how such practices might challenge reigning definitions and assumptions of the practice. In similar Japanese practices, for example, gay male opposition to girls’ comics (shōjo) depicting love between ‘pretty boys’ (bishōunen) has been well documented (see Hori)—Men’s Love (or bara) is a subgenre of Boys’ Love (or shōnen’ai) predominately created by gay men seeking a greater connection with the lived reality of gay life (Lunsing). Dennis finds male slash fanart producers more committed to muscular representations and depiction of graphic male/male sex when compared with female-identifying artists (14, 16). He also observes that male fanart artists have a tendency of “valuing same-sex desire without a heterosexual default and placing it within the context of realistic gay relationships” (11). I have observed similar differences between male and female-identifying slash manip artists. Female-identifying Nicci Mac, for example, will often add trousers to her donor bodies, recoding them for a more romantic context. By contrast, male-identifying mythagowood is known for digitally enlarging the penises and rectums of his base models, exaggerating his work’s connection to the pornographic and the macabre. Consider, for example, mythagowood’s rationale for digitally enlarging and importing ‘lips’ for Sam’s (Supernatural) rectum in his work Ass-milk: 2012, which marks the third anniversary of the original: Originally I wasn’t going to give Sammy’s cunt any treatment (before I determined the theme) but when assmilk became the theme I had to go find a good set of lips to slap on him and I figured, it’s been three years, his hole is going to be MUCH bigger. (personal correspondence, used with permission) While mythagowood himself cautions against gendered romance/pornography slash arguments—“I find it annoying that people attribute certain specific aspects of my work to something ‘only a man’ would make.” (ibid.)—gay pornography occupies an important place in the lives of gay men as a means for entertainment, community engagement and identity-construction (see McKee). As one of the only cultural representations available to gay men, Fejes argues that gay pornography plays a crucial role in defining gay male desire and identity. This is confirmed by an Internet survey conducted by Duggan and McCreary that finds 98% of gay participants reporting exposure to pornographic material in the 30-day period prior to the survey. Further, the underground nature of gay pornographic film (see Dyer) aligns it with slash as a subcultural practice. I now analyse two Merlin slash manips with respect to the sexual positions of the pornographic base models, illustrating how gay pornography genres and ideologies referenced through these works enforce their intended meaning, as defined by the artist. A sexual act such as bukkake, as wandsinhand astutely notes, acts as a universal sign and “automatically generates a narrative for the image without anything really needing to be detailed”. Barthes argues that such a “relation between thing signified and image signifying in analogical representation” is unlike language, which has a much more ‘arbitrary’ relationship between signifier and signified (272). Bukkake and the Assertion of Masculine Power in Merlin Merlin (2008–12) is a BBC reimagining of the Arthurian legend that focuses on the coming-of-age of Arthur and his close bond with his manservant Merlin, who keeps his magical identity secret until Arthur’s final stand in the iconic Battle of Camlann. The homosexual potential of Merlin and Arthur’s story—and of magic as a metaphor for homosexuality—is something slash fans were quick to recognise. During question time at the first Merlin cast appearance at the London MCM Expo in October 2008—just one month after the show’s pilot first aired—a fan asked Morgan and James, who portray Merlin and Arthur, is Merlin “meant to be a love story between Arthur and Merlin?” James nods in jest. Wandsinhand, who is most active in the Teen Wolf (2011–present) fandom, has produced two Merlin slash manips to date, a 2013 Merlin/Arthur and a 2012 Arthur/Percival, both untitled. The Merlin/Arthur manip (see Figure 1) depicts Merlin bound and on his knees, Arthur ejaculating across his face and on his chest. Merlin is naked while Arthur is partially clothed in chainmail and armour. They are both bruised and dirty, Arthur’s injuries suggesting battle given his overall appearance, while Merlin’s suggesting abuse, given his subordinate position. The setting appears to be the royal stables, where we know Merlin spends much of his time mucking out Arthur’s horses. I am left to wonder if perhaps Merlin did not carry out this duty to Arthur’s satisfaction, and is now being punished for it; or if Arthur has returned from battle in need of sexual gratification and the endorsement of power that comes from debasing his manservant. Figure 1: wandsinhand, Untitled (Merlin/Arthur), 2013, photo montage. Courtesy the artist. Both readings are supported by Arthur’s ‘spent’ expression of disinterest or mild curiosity, while Merlin’s face emotes pain: crying and squinting through the semen obscuring his vision. The artist confirms this reading in our interview: “Arthur is using his pet Merlin to relieve some stress; Merlin of course not being too pleased about the aftermath, but obedient all the same.” The noun ‘pet’ evokes the sexual connotations of Merlin’s role as Arthur’s personal manservant, while also demoting Merlin even further than usual. He is, in Arthur’s eyes, less than human, a sexual plaything to use and abuse at will. The artist’s statement also confirms that Arthur is acting against Merlin’s will. Violence is certainly represented here, the base models having been ‘marked up’ to depict sexualisation of an already physically and emotionally abusive relationship, their relative positioning and the importation of semen heightening the humiliation. Wandsinhand’s work engages characters in sadomasochistic play, with semen and urine frequently employed to degrade and arouse—“peen wolf”, a reference to watersports, is used within his Teen Wolf practice. The two wandsinhand works analysed in this present article come without words, thus lacking a “linguistic message” (Barthes 273–6). However even so, the artist’s statement and Arthur’s stance over “his pet Merlin” mean we are still able to “skim off” (270) the meanings the image contains. The base models, for example, invite comparison with the ‘gay bukkake’ genre of gay pornography—admittedly with a single dominant male rather than a group. Gay bukkake has become a popular niche in North American gay pornography—it originated in Japan as a male–female act in the 1980s. It describes a ritualistic sexual act where a group of dominant men—often identifying as heterosexual—fuck and debase a homosexual, submissive male, commonly bareback (Durkin et al. 600). The aggression on display in this act—much like the homosocial insistency of men who partake in a ‘circle jerk’ (Mosher 318)—enables the participating men to affirm their masculinity and dominance by degrading the gay male, who is there to service (often on his knees) and receive—in any orifice of the group’s choosing—the men’s semen, and often urine as well. The equivalencies I have made here are based on the ‘performance’ of the bukkake fantasy in gay niche hazing and gay-for-pay pornography genres. These genres are fuelled by antigay sentiment, aggression and debasement of effeminate males (see Kendall). I wish here to resist the temptation of labelling the acts described above as deviant. As is a common problem with anti-pornography arguments, to attempt to fix a practice such as bukkake as deviant and abject—by, for example, equating it to rape (Franklin 24)—is to negate a much more complex consideration of distinctions and ambiguities between force and consent; lived and fantasy; where pleasure is, where it is performed and where it is taken. I extend this desire not to label the manip in question, which by exploiting the masculine posturing of Arthur effectively sexualises canon debasement. This began with the pilot when Arthur says: “Tell me Merlin, do you know how to walk on your knees?” Of the imported imagery—semen, bruising, perspiration—the key signifier is Arthur’s armour which, while torn in places, still ensures the encoding of particular signifieds: masculinity, strength and power. Doggystyle and the Subversion of Arthur’s ‘Armoured Self’ Since the romanticism and chivalric tradition of the knight in shining armour (see Huizinga) men as armoured selves have become a stoic symbol of masculine power and the benchmark for aspirational masculinity. For the medieval knight, armour reflects in its shiny surface the mettle of the man enclosed, imparting a state of ‘bodilessness’ by containing any softness beneath its shielded exterior (Burns 140). Wandsinhand’s Arthur/Percival manip (see Figure 2) subverts Arthur and the symbolism of armour with the help of arguably the only man who can: Arthur’s largest knight Percival. While a minor character among the knights, Percival’s physical presence in the series looms large, and has endeared him to slash manip artists, particularly those with only a casual interest in the series, such as wandsinhand: Why Arthur and Percival were specifically chosen had really little to do with the show’s plot, and in point of fact, I don’t really follow Merlin that closely nor am I an avid fan. […] Choosing Arthur/Percival really was just a matter of taste rather than being contextually based on their characterisations in the television show. Figure 2: wandsinhand, Untitled (Arthur/Percival), 2012, photo montage. Courtesy the artist. Concerning motivation, the artist explains: “Sometimes one’s penis decides to pick the tv show Merlin, and specifically Arthur and Percival.” The popularity of Percival among manip artists illustrates the power of physicality as a visual sign, and the valorisation of size and muscle within the gay community (see Sánchez et al.). Having his armour modified to display his muscles, the implication is that Percival does not need armour, for his body is already hard, impenetrable. He is already suited up, simultaneously man and armoured. Wandsinhand uses the physicality of this character to strip Arthur of his symbolic, masculine power. The work depicts Arthur with a dishevelled expression, his armoured chest pressed against the ground, his chainmail hitched up at the back to expose his arse, Percival threading his unsheathed cock inside him, staring expressionless at the ‘viewer’. The artist explains he “was trying to show a shift of power”: I was also hinting at some sign of struggle, which is somewhat evident on Arthur’s face too. […] I think the expressions work in concert to suggest […] a power reversal that leaves Arthur on the bottom, a position he’s not entirely comfortable accepting. There is pleasure to be had in seeing the “cocky” Arthur forcefully penetrated, “cut down to size by a bigger man” (wandsinhand). The two assume the ‘doggystyle’ position, an impersonal sexual position, without eye contact and where the penetrator sets the rhythm and intensity of each thrust. Scholars have argued that the position is degrading to the passive party, who is dehumanised by the act, a ‘dog’ (Dworkin 27); and rapper Snoop ‘Doggy’ Dogg exploits the misogynistic connotations of the position on his record Doggystyle (see Armstrong). Wandsinhand is clear in his intent to depict forceful domination of Arthur. Struggle is signified through the addition of perspiration, a trademark device used by this artist to symbolise struggle. Domination in a sexual act involves the erasure of the wishes of the dominated partner (see Cowan and Dunn). To attune oneself to the pleasures of a sexual partner is to regard them as a subject. To ignore such pleasures is to degrade the other person. The artist’s choice of pairing embraces the physicality of the male/male bond and illustrates a tendency among manip producers to privilege conventional masculine identifiers—such as size and muscle—above symbolic, nonphysical identifiers, such as status and rank. It is worth noting that muscle is more readily available in the pornographic source material used in slash manips—muscularity being a recurrent component of gay pornography (see Duggan and McCreary). In my interview with manip artist simontheduck, he describes the difficulty he had sourcing a base image “that complimented the physicality of the [Merlin] characters. […] The actor that plays Merlin is fairly thin while Arthur is pretty built, it was difficult to find one. I even had to edit Merlin’s body down further in the end.” (personal correspondence, used with permission) As wandsinhand explains, “you’re basically limited by what’s available on the internet, and even then, only what you’re prepared to sift through or screencap yourself”. Wandsinhand’s Arthur/Percival pairing selection works in tandem with other artistic decisions and inclusions—sexual position, setting, expressions, effects (perspiration, lighting)—to ensure the intended reading of the work. Antithetical size and rank positions play out in the penetration/submission act of wandsinhand’s work, in which only the stronger of the two may come out ‘on top’. Percival subverts the symbolic power structures of prince/knight, asserting his physical, sexual dominance over the physically inferior Arthur. That such a construction of Percival is incongruent with the polite, impeded-by-my-size-and-muscle-density Percival of the series speaks to the circumstances of manip production, much of which is on a taste basis, as previously noted. There are of course exceptions to this, the Teen Wolf ‘Sterek’ (Stiles/Derek) pairing being wandsinhand’s, but even in this case, size tends to couple with penetration. Slash manips often privilege physicality of the characters in question—as well as the base models selected—above any particular canon-supported slash reading. (Of course, the ‘queering’ nature of slash practice means at times there is also a desire to see such identifiers subverted, however in this example, raw masculine power prevails.) This final point is in no way representative—my practice, for example, combines manips with ficlets to offer a clearer connection with canon, while LJ’s zdae69 integrates manips, fiction and comics. However, common across slash manip artists driven by taste—and requests—rather than connection with canon—the best known being LJ’s tw-31988, demon48180 and Tumblr’s lwoodsmalestarsfakes, all of whom work across many fandoms—is interest in the ‘aesthetics of canon’, the blue hues of Teen Wolf or the fluorescent greens of Arrow (2012–present), displayed in glossy magazine format using services such as ISSUU. In short, ‘the look’ of the work often takes precedent over canonical implications of any artistic decisions. “Nothing Too Serious”: Slash Manips as Objects Worth Studying It had long been believed that the popular was the transient, that of entertainment rather than enlightenment; that which is manufactured, “an appendage of the machinery”, consumed by the duped masses and a product not of culture but of a ‘culture industry’ (Adorno and Rabinbach 12). Scholars such as Radway, Ang pioneered a shift in scholarly practice, advancing the cultural studies project by challenging elitism and finding meaning in traditionally devalued cultural texts and practices. The most surprising outcome of my interviews with wandsinhand was hearing how he conceived of his practice, and the study of slash: If I knew I could get a PhD by writing a dissertation on Slash, I would probably drop out of my physics papers! […] I don’t really think too highly of faking/manip-making. I mean, it’s not like it’s high art, is it? … or is it? I guess if Duchamp’s toilet can be a masterpiece, then so can anything. But I mainly just do it to pass the time, materialise fantasies, and disperse my fantasies unto others. Nothing too serious. Wandsinhand erects various binaries—academic/fan, important/trivial, science/arts, high art/low art, profession/hobby, reality/fantasy, serious/frivolous—as justification to devalue his own artistic practice. Yet embracing the amateur, personal nature of his practice frees him to “materialise fantasies” that would perhaps not be possible without self-imposed, underground production. This is certainly supported by his body of work, which plays with taboos of the unseen, of bodily fluids and sadomasochism. My intention with this article is not to contravene views such as wandsinhand’s. Rather, it is to promote slash manips as a form of remix culture that encourages new perspectives on how slash has been defined, its connection with male producers and its symbiotic relationship with gay pornography. I have examined the ‘semiotic significance of selection’ that creates meaning in two contrary slash manips; how these works actualise and resist canon dominance, as it relates to the physical and the symbolic. This examination also offers insight into this form’s connection to and negotiation with certain ideologies of gay pornography, such as the valorisation of size and muscle. References Adorno, Theodor W., and Anson G. Rabinbach. “Culture Industry Reconsidered.” New German Critique 6 (1975): 12–19. Ang, Ien. 1985. Watching Dallas. London: Methuen, 1985. Armstrong, Edward G. “Gangsta Misogyny: A Content Analysis of the Portrayals of Violence against Women in Rap Music, 1987–93.” Journal of Criminal Justice and Popular Culture 8.2 (2001): 96–126. Barthes, Roland. “Rhetoric of the Image.” Image, Music, Text. London: HarperCollins, 1977. 269–85. Burns, E. Jane. Courtly Love Undressed: Reading through Clothes in Medieval French Culture. Philadelphia: Univ. of Pennsylvania Press, 2002. Bury, Rhiannon. Cyberspaces of Their Own: Female Fandoms Online. New York: Peter Lang, 2005. Cowan, Gloria, and Kerri F. Dunn. “What Themes in Pornography Lead to Perceptions of the Degradation of Women?” The Journal of Sex Research 31.1 (1994): 11–21. Dennis, Jeffery P. “Drawing Desire: Male Youth and Homoerotic Fan Art.” Journal of LGBT Youth 7.1 (2010): 6–28. Duggan, Scott J., and Donald R. McCreary. “Body Image, Eating Disorders, and the Drive for Muscularity in Gay and Heterosexual Men: The Influence of Media Images.” Journal of Homosexuality 47.3/4 (2004): 45–58. Durkin, Keith, Craig J. Forsyth, and James F. Quinn. “Pathological Internet Communities: A New Direction for Sexual Deviance Research in a Post Modern Era.” Sociological Spectrum 26.6 (2006): 595–606. Dworkin, Andrea. “Against the Male Flood: Censorship, Pornography, and Equality.” Letters from a War Zone. London: Martin Secker and Warburg, 1997. 19–38. Fejes, Fred. “Bent Passions: Heterosexual Masculinity, Pornography, and Gay Male Identity.” Sexuality & Culture 6.3 (2002): 95–113. Franklin, Karen. “Enacting Masculinity: Antigay Violence and Group Rape as Participatory Theater.” Sexuality Research & Social Policy 1.2 (2004): 25–40. Hori, Akiko. “On the Response (or Lack Thereof) of Japanese Fans to Criticism That Yaoi Is Antigay Discrimination.” Transformative Works and Cultures 12 (2013). doi:10.3983/twc.2013.0463. Huizinga, Johan. The Waning of the Middle Ages: A Study of Forms of Life, Thought, and Art in France and the Netherlands in the Dawn of the Renaissance. Trans. F. Hopman. London: Edward Arnold & Co, 1924. Jenkins, Henry. Textual Poachers: Television Fans & Participatory Culture. London: Routledge, 1992. Kendall, Christopher N. “‘Real Dominant, Real Fun!’: Gay Male Pornography and the Pursuit of Masculinity.” Saskatchewan Law Review 57 (1993): 21–57. Kreisinger, Elisa. “Queer Video Remix and LGBTQ Online Communities.” Transformative Works and Cultures 9 (2012). doi:10.3983/twc.2012.0395. Lamb, Patricia F., and Diane L. Veith. “Romantic Myth, Transcendence, and Star Trek Zines.” Erotic Universe: Sexuality and Fantastic Literature. Ed. D Palumbo. New York: Greenwood, 1986. 235–57. Lessig, Lawrence. The Future of Ideas. New York: Vintage, 2001. Lunsing, Wim. “Yaoi Ronsō: Discussing Depictions of Male Homosexuality in Japanese Girls’ Comics, Gay Comics and Gay Pornography.” Intersections: Gender, History and Culture in the Asian Context 12 (2006). ‹http://intersections.anu.edu.au/issue12/lunsing.html›. MacDonald, Marianne. “Harry Potter and the Fan Fiction Phenom.” The Gay & Lesbian Review 13.1 (2006): 28–30. McKee, Alan. “Australian Gay Porn Videos: The National Identity of Despised Cultural Objects.” International Journal of Cultural Studies 2.2 (1999): 178–98. Morrison, Todd G., Melanie A. Morrison, and Becky A. Bradley. “Correlates of Gay Men’s Self-Reported Exposure to Pornography.” International Journal of Sexual Health 19.2 (2007): 33–43. Mosher, Donald L. “Negative Attitudes Toward Masturbation in Sex Therapy.” Journal of Sex & Marital Therapy 5.4 (1979): 315–33. Navas, Eduardo. “Regressive and Reflexive Mashups in Sampling Culture.” Mashup Cultures. Ed. Stefan Sonvilla-Weiss. New York: Springer, 2010. 157–77. Radway, Janice. Reading the Romance: Women, Patriarchy, and Popular Literature. Chapel Hill: Univ. of North Carolina Press, 1984. Russ, Joanna. “Pornography by Women for Women, with Love.” Magic Mommas, Trembling Sisters, Puritans, and Perverts: Feminist Essays. Trumansburg: Crossing Press, 1985. 79–99. Russo, Julie Levin. “User-Penetrated Content: Fan Video in the Age of Convergence.” Cinema Journal 48.4 (2009): 125–30. Salmon, Catherine, and Donald Symons. Warrior Lovers: Erotic Fiction, Evolution and Human Sexuality. London: Weidenfeld & Nicolson, 2001. Sánchez, Francisco J., Stefanie T. Greenberg, William Ming Liu, and Eric Vilain. “Reported Effects of Masculine Ideals on Gay Men.” Psychology of Men & Masculinity 10.1 (2009): 73–87. Stasi, Mafalda. “The Toy Soldiers from Leeds: The Slash Palimpsest.” Fan Fiction and Fan Communities in the Age of the Internet. Ed. Karen Hellekson, and Kristina Busse. Jefferson: McFarland, 2006. 115–33. Stedman, Kyle D. “Remix Literacy and Fan Compositions.” Computers and Composition 29.2 (2012): 107–23. Weinstein, Matthew. “Slash Writers and Guinea Pigs as Models for Scientific Multiliteracy.” Educational Philosophy and Theory 38.5 (2006): 607–23. Woledge, Elizabeth. “Intimatopia: Genre Intersections between Slash and the Mainstream.” Fan Fiction and Fan Communities in the Age of the Internet. Ed. Karen Hellekson, and Kristina Busse. Jefferson: McFarland, 2006. 97–114.

Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Guattari follow a related line of thought in A Thousand Plateaus: ‘Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency’ (11). Similarly, in Of Grammatology, Jacques Derrida suggests that ‘Writing is that forgetting of the self, that exteriorization, the contrary of the interiorizing memory’ (24). To the extent that these philosophical and theoretical positions emerge within the practices of creative writers as remixes of appropriation, homage and/or pastiche, prima facie they problematize the commercial rights of writers as outlined in law. The case of Kathy Acker often comes up in such discussions. Acker’s 1984 novel Blood and Guts in High School, for example, incorporates techniques that have attracted the charge of plagiarism as this term is commonly defined. (Peter Wollen notes this in his aptly named essay ‘Death [and Life] of the Author.’) For texts like Acker’s, the comeback against charges of plagiarism usually involves underscoring the quotient of creativity involved in the re-combination or ‘remixing’ of the parts of the original texts. (Pure repetition would, it would seem, be much harder to defend.) ‘Plagiarism’, so-called, was simply one element of Acker’s writing technique; Robert Lort nuances plagiarism as it applies to Acker as ‘pseudo-plagiarism’. According to Wollen, ‘as she always argued, it wasn’t really plagiarism because she was quite open about what she did.’ As we shall demonstrate in more detail later on, however, there is another and, we suggest, more convincing reason why Acker’s work ‘wasn’t really plagiarism.’ This relates to her conscious interest in calligraphy and to her (perhaps unconscious) appropriation of a certain strand of Chinese philosophy. All the same, within the Western context, the consistent enforcement of copyright law guarantees the rights of authors to control the distribution of their own work and thus its monetised value. The author may be ‘dead’ in writing—just the faintest trace of remixed textuality—but he/she is very much ‘alive’ as in recognised at law. The model of the author as free-standing citizen (as a defined legal entity) that copyright law employs is unlikely to be significantly eroded by the textual practices of authors who tarry artistically in the ‘de-authored territories’ mapped by figures like Barthes, Deleuze and Guattari, and Derrida. Crucially, disputes concerning copyright law and the ethics of remix are resolved, within the Western context, at the intersection of relatively autonomous creative and legal domains. In the West, it is seen that these two domains are related within the one social fabric; each nuances the other (as Acker’s example shows in the simultaneity of her legal/commercial status as an author and her artistic practice as a ‘remixer’ of the original works of other authors). Legal and writing issues co-exist even as they fray each other’s boundaries. And in Western countries there is force to the law’s operations. However, the same cannot be said of the situation with respect to copyright law in China. Chinese artists are traditionally regarded as being aloof from mundane legal and commercial matters, with the consequence that the creative and the legal domains tend to ‘miss each other’ within the fabric of Chinese society. To this extent, the efficacy of the law is muted in China when it comes into contact with circumstances of authorship, writing, originality and creativity. (In saying this though, we do not wish to fall into the trap of cultural essentialism: in this article, ‘China’ and ‘The West’ are placeholders for variant cultural tendencies—clustered, perhaps, around China and its disputed territories such as Taiwan on the one hand, and around America on the other—rather than homogeneous national/cultural blocs.) Since China opened its system to Western capitalist economic activity in the 1980s, an ongoing criticism, sourced mainly out of the West, has been that the country lacks proper respect for notions of authorship and, more directly, for authorship’s derivative: copyright law. Tellingly, it took almost ten years of fierce negotiations between elements of the capitalist lobby in China and the Legislative Bureau to make the Seventh National People’s Congress pass the first Copyright Law of the People’s Republic of China on 7 September 1990. A law is one thing though, and adherence to the law is another. Jayanthi Iyengar of Asia Times Online reports that ‘the US government estimates that piracy within China [of all types of products] costs American companies $20-24 billion a year in damages…. If one includes European and Japanese firms, the losses on account of Chinese piracy is in excess of $50 billion annually.’ In 2008, the International Federation of the Phonographic Industry (IFPI) reported that more than 99% of all music files in China are pirated. In the same year, Cara Anna wrote in The Seattle Times that, in desperation at the extent of Chinese infringement of its Intellectual Property Rights (IPRs), Microsoft has deployed an anti-piracy tactic that blacks out the screens of computers detected running a fake copy of Windows. The World Trade Organisation (WTO) has filed complaints from many countries against China over IPRs. Iyengar also reports that, under such pressure, the State Intellectual Property Office in Beijing has vowed it will continue to reinforce awareness of IPRs in order to better ensure their protection. Still, from the Western perspective at least, progress on this extremely contentious issue has been excruciatingly slow. Such a situation in respect of Chinese IPRs, however, should not lead to the conclusion that China simply needs to catch up with the more ‘morally advanced’ West. Rather, the problematic relations of the law and of creativity in China allow one to discern, and to trace through ancient Chinese history and philosophy, a different approach to remix that does not come into view so easily within Western countries. Different materialisms of writing and authorship come into play across global space, with different effects. The resistance to both the introduction and the policing of copyright law in China is, we think, the sign of a culture that retains something related to authorship and creativity that Western culture only loosely holds onto. It provides a different way of looking at remix, in the guise of what the West would tend to label plagiarism, as a practice, especially, of creativity. The ‘death’ of the author in China at law (the failure to legislate and/or police his/her rights) brings the author, as we will argue, ‘alive’ in the writing. Remix as anonymous composition (citing Barthes) becomes, in the Chinese example, remix as creative expression of singular feelings—albeit remix set adrift from the law. More concretely, our example of the Chinese writer/writing takes remix to its limit as a practice of repetition without variation—what the West would be likely to call plagiarism. Calligraphy is key to this. Of course, calligraphy is not the full extent of Chinese writing practice—not all writing is calligraphic strictly speaking. But all calligraphy is writing, and in this it influences the ethics of Chinese writing, whether character-based or otherwise, more generally. We will have more to say about the ‘pictorial’ material aspect of Chinese writing later on. In traditional Chinese culture, writing is regarded as a technical practice perfected through reproduction. Chinese calligraphy (visual writing) is learnt through exhaustively tracing and copying the style of the master calligrapher. We are tempted to say that what is at stake in Chinese remix/calligraphy is ‘the difference that cannot be helped:’ that is, the more one tries, as it were, to repeat, the more repetition becomes impossible. In part, this is explained by the interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). Now, the order of the characters—Qing 情 (‘feelings’) before Yun 韵 (‘composed body movements’)—suggests that Qing creates and supports Yun. To this extent, what we have here is something akin to a Western understanding of creative writing (of the creativity of writing) in which individual and singular feelings are given expression in the very movement of the writing itself (through the bodily actions of the writer). In fact though, the Chinese case is more complicated than this, for the apprenticeship model of Chinese calligraphy cultivates a two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). More directly, the ‘composed body movements’ that one learns from the master calligrapher help compose one’s own ‘feelings’. The very repetition of the master’s work (its remixing, as it were…) enables the creativity of the apprentice. If this model of creativity is found somewhat distasteful from a Western perspective (that is, if it is seen to be too restrictive of originality) then that is because such a view, we think, depends upon a cultural misunderstanding that we will try to clear up here. To wit, the so-called Confucian model of rote learning that is more-or-less frowned upon in the West is not, at least not in the debased form that it adopts in Western stereotypes, the philosophy active in the case of Chinese calligraphy. That philosophy is Taoism. As Wing-Tsit Chan elucidates, ‘by opposing Confucian conformity with non-conformity and Confucian worldliness with a transcendental spirit, Taoism is a severe critic of Confucianism’ (136). As we will show in a moment, Chinese calligraphy exemplifies this special kind of Taoist non-conformity (in which, as Philip J. Ivanhoe limns it, ‘one must unweave the social fabric’). Chan again: ‘As the way of life, [Taoism] denotes simplicity, spontaneity, tranquility, weakness, and most important of all, non-action (wu-wei). By the latter is not meant literally “inactivity” but rather “taking no action that is contrary to Nature”—in other words, letting Nature take its own course’ (136). Thus, this is a philosophy of ‘weakness’ that is neither ‘negativism’ nor ‘absolute quietism’ (137). Taoism’s supposed weakness is rather a certain form of strength, of (in the fullest sense) creative possibilities, which comes about through deference to the way of Nature. ‘Hold fast to the great form (Tao), / And all the world will come’ illustrates this aspect of Taoism in its major philosophical tract, The Lao Tzu (Tao-Te Ching) or The Classic of the Way and its Virtue (section 35, Chan 157). The guiding principle is one of deference to the original (way, Nature or Tao) as a strategy of an expression (of self) that goes beyond the original. The Lao Tzu is full of cryptic, metaphoric expressions of this idea: ‘The pursuit of learning is to increase day after day. / The pursuit of Tao is to decrease day after day. / It is to decrease and further decrease until one reaches the point of taking no action. / No action is undertaken, and yet nothing is left undone’ (section 48, Chan 162). Similarly, The female always overcomes the male by tranquility, / And by tranquility she is underneath. / A big state can take over a small state if it places itself below the small state; / And the small state can take over a big state if it places itself below the big state. / Thus some, by placing themselves below, take over (others), / And some, by being (naturally) low, take over (other states) (section 61, Chan 168). In Taoism, it is only by (apparent) weakness and (apparent) in-action that ‘nothing is left undone’ and ‘states’ are taken over. The two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’), whereby the apprentice copies the master, aligns with this key element of Taoism. Here is the linkage between calligraphy and Taoism. The master’s work is Tao, Nature or the way: ‘Hold fast to the great form (Tao), / And all the world will come’ (section 35, Chan 157). The apprentice’s calligraphy is ‘all the world’ (‘all the world’ being, ultimately in this context, Qing 情 [‘feelings’]). Indeed, Taoism itself is a subtle philosophy of learning (of apprenticeship to a master), unlike Confucianism, which Chan characterises as a doctrine of ‘social order’ (of servitude to a master) (136). ‘“Learn not learn”’ is how Wang Pi, as quoted by Chan (note 121, 170), understands what he himself (Chan) translates as ‘He learns to be unlearned’ (section 64, 170). In unlearning one learns what cannot be taught: this is, we suggest, a remarkable definition of creativity, which also avoids falling into the trap of asserting a one-to-one equivalence between (unlearnt) originality and creativity, for there is both learning and creativity in this Taoist paradox of pedagogy. On this, Michael Meehan points out that ‘originality is an over-rated and misguided concept in many ways.’ (There is even a sense in which, through its deliberate repetition, The Lao Tzu teaches itself, traces over itself in ‘self-plagiarising’ fashion, as if it were reflecting on the re-tracings of calligraphic pedagogy. Chan notes just how deliberate this is: ‘Since in ancient times books consisted of bamboo or wooden slabs containing some twenty characters each, it was not easy for these sentences… to be added by mistake…. Repetitions are found in more than one place’ [note 102, 166].) Thinking of Kathy Acker too as a learner, Peter Wollen’s observation that she ‘incorporated calligraphy… in her books’ and ‘was deeply committed to [the] avant-garde tradition, a tradition which was much stronger in the visual arts’ creates a highly suggestive connection between Acker’s work and Taoism. The Taoist model for learning calligraphy as, precisely, visual art—in which copying subtends creativity—serves to shift Acker away from a Barthesian or Derridean framework and into a Taoist context in which adherence to another’s form (as ‘un-learnt learning’) creatively unravels so-called plagiarism from the inside. Acker’s conscious interest in calligraphy is shown by its prevalence in Blood and Guts in High School. Edward S. Robinson identifies this text as part of her ‘middle phase’, which ‘saw the introduction of illustrations and diagrams to create multimedia texts with a collage-like feel’ (154). To our knowledge, Acker never critically reflected upon her own calligraphic practices; perhaps if she had, she would have troubled what we see as a blindspot in critics’ interpretations of her work. To wit, whenever calligraphy is mentioned in criticism on Acker, it tends to be deployed merely as an example of her cut-up technique and never analysed for its effects in its own cultural, philosophical and material specificity. (Interestingly, if the words of Chinese photographer Liu Zheng are any guide, the Taoism we’re identifying in calligraphy has also worked its way into other forms of Chinese visual art: she refers to ‘loving photographic details and cameras’ with the very Taoist term, ‘lowly’ 低级 [Three Shadows Photography Art Centre 187].) Being ‘lowly’, ‘feminine’ or ‘underneath’ has power as a radical way of learning. We mentioned above that Taoism is very metaphoric. As the co-writer of this paper Cher Coad recalls from her calligraphy classes, students in China grow up with a metaphoric proverb clearly inspired by Lao Tzu’s Taoist philosophy of learning: ‘Learning shall never stop. Black comes from blue, but is more than the blue.’ ‘Black comes from blue, but is more than the blue.’ What could this mean? Before answering this question with recourse to two Western notions that, we hope, will further effect (building on Acker’s example) a rapprochement between Chinese and Western ways of thinking (be they nationally based or not), we reiterate that the infringement of Intellectual Property Rights (IPRs) in China should not be viewed only as an egregious denial of universally accepted law. Rather, whatever else it may be, we see it as the shadow in the commercial realm—mixed through with all the complexities of Chinese tradition, history and cultural difference, and most particularly of the Taoist strand within Confucianism—of the never-quite-perfect copying of calligraphic writing/remixing. More generally, the re-examination of stereotypical assumptions about Chinese culture cues a re-examination of the meaning behind the copying of products and technology in contemporary, industrialised China. So, ‘Black comes from blue, but is more than the blue.’ What is this ‘more than the blue of black’? Or put differently, why is calligraphic writing, as learnt from the master, always infused with the singular feelings of the (apprentice) writer? The work of Deleuze, Guattari and Claire Parnet provides two possible responses. In On the Line, Deleuze and Guattari (and Deleuze in co-authorship with Parnet) author a number of comments that support the conception we are attempting to develop concerning the lines of Chinese calligraphy. A line, Deleuze and Guattari suggest, is always a line of lines (‘Line of chance, line of hips, line of flight’ [57]). In the section of On the Line entitled ‘Politics’, Deleuze and Parnet outline the impossibility of any line being just one line. If life is a line (as it is said, you throw someone a life line), then ‘We have as many entangled lines in our lives as there are in the palm of a hand’ (71). Of any (hypothetical) single line it can be said that other lines emerge: ‘Black comes from blue, but is more than the blue.’ The feelings of the apprentice calligrapher (his/her multiple lines) emerge through the repeated copying of the lines and composed body movements of the master. The Deleuzean notion of repetition takes this idea further. Repetitive Chinese calligraphy clearly indexes what Claire Colebrook refers to as ‘Deleuze’s concept of eternal return. The only thing that is repeated or returns is difference; no two moments of life can be the same. By virtue of the flow of time, any repeated event is necessarily different (even if different only to the extent that it has a predecessor)’ (121). Now, it might be objected that Chinese calligraphic practices, because of the substantially ideographic nature of Chinese writing (see Kristeva 72-81), allow for material mutations that can find no purchase in Western, alphabetical systems of writing. But the materiality of time that Colebrook refers to as part of her engagement with Deleuzean non-repetitious (untimely) repetition guarantees the materiality of all modes of writing. Furthermore, Julia Kristeva notes that, with any form of language, one cannot leave ‘the realm of materialism’ (6) and Adrian Miles, in his article ‘Virtual Actual: Hypertext as Material Writing,’ sees the apparently very ‘unmaterial’ writing of hypertext ‘as an embodied activity that has its own particular affordances and possibilities—its own constraints and local actualisations’ (1-2). Calligraphic repetition of the master’s model creates the apprentice’s feelings as (inevitable) difference. In this then, the learning by the Chinese apprentice of the lines of the master’s calligraphy challenges international (both Western and non-Western) artists of writing to ‘remix remix’ as a matter—as a materialisation—of the line. Not the line as a self-identical entity of writing that only goes to make up writing more generally; rather, lines as a materialisation of lines within lines within lines. More self-reflexively, even the collaborative enterprise of this article, co-authored as it is by a woman of Chinese ethnicity and a white Australian man, suggests a remixing of writing through, beneath and over each other’s lines. Yun 韵 (‘composed body movements’) expresses and maximises Qing 情 (‘feelings’). Taoist ‘un-learnt learning’ generates remix as the singular creativity of the writer. Writers get into a blue with the line—paint it, black. Of course, these ideas won’t and shouldn’t make copyright infringement (or associated legalities) redundant notions. But in exposing the cultural relativisms often buried within the deployment of this and related terms, the idea of lines of lines far exceeds a merely formalistic practice (one cut off from the materialities of culture) and rather suggests a mode of non-repetitious repetition in contact with all of the elements of culture (of history, of society, of politics, of bodies…) wherever these may be found, and whatever their state of becoming. In this way, remix re-creates the depths of culture even as it stirs up its surfaces of writing. References Acker, Kathy. Blood and Guts in High School: A Novel. New York: Grove Press, 1978. Anna, Cara. ‘Microsoft Anti-Piracy Technology Upsets Users in China.’ The Seattle Times. 28 Oct. 2008 ‹http://seattletimes.com/html/businesstechnology/2008321919_webmsftchina28.html›. Barthes, Roland. ‘The Death of the Author.’ Barthes, Roland. Image-Music-Text. London: Fontana Press, 1977. 142-148. Chan, Wing-Tsit. A Source Book in Chinese Philosophy. Princeton, New Jersey: Princeton University Press, 1969. Colebrook, Claire. Gilles Deleuze. London: Routledge, 2002. Deleuze, Gilles, and Félix Guattari. On the Line. New York: Semiotext(e), 1983. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins University Press, 1976. International Federation of the Phonographic Industry. ‘Recording Industry Steps Up Campaign against Internet Piracy in China.’ ifpi. 4 Feb. 2008 ‹http://www.ifpi.org/content/section_news/20080204.html›. Ivanhoe, Philip J. ‘Taoism’. The Cambridge Dictionary of Philosophy. Ed. Robert Audi. Cambridge: Cambridge University Press, 1995. 787. Iyengar, Jayanthi. ‘Intellectual Property Piracy Rocks China Boat.’ Asia Times Online. 16 Sept. 2004 ‹http://www.atimes.com/atimes/China/FI16Ad07.html›. Kristeva, Julia. Language: The Unknown: An Initiation into Linguistics. New York: Columbia University Press, 1989. Lort, Robert. ‘Kathy Acker (1944-1997).’ Jahsonic: A Vocabulary of Culture. 2003 ‹http://www.jahsonic.com/KathyAcker.html›. Meehan, Michael. ‘Week 5a: Playing with Genres.’ Lecture notes. Unit ALL705. Short Stories: Writers and Readers. Trimester 2. Melbourne: Deakin University, 2013. Miles, Adrian. ‘Virtual Actual: Hypertext as Material Writing.’ Studies in Material Thinking 1.2 (April 2008) ‹http://www.materialthinking.org/papers/29›. Robinson, Edward S. Shift Linguals: Cut-up Narratives from William S. Burroughs to the Present. New York: Editions Rodopi, 2011. Three Shadows Photography Art Centre. ‘Photography and Intimate Space Symposium.’ Conversations: Three Shadows Photography Art Centre’s 2007 Symposium Series. Ed. RongRong, inri, et al. Beijing: Three Shadows Press Limited, 2008. 179-191. Wollen, Peter. ‘Death (and Life) of the Author.’ London Review of Books 20.3 (5 Feb. 1998). ‹http://www.lrb.co.uk/v20/n03/peter-wollen/death-and-life-of-the-author›.

In this thesis, I examine the influence of institutional control on three teachers' and twelve linguistically and culturally diverse childrens' perceptions and constructions of literacy meaning making in English and French in two grade six English and in two grade six French classrooms in the province of Quebec. The children in this study represent a cultural and linguistic mosaic of new arrivals, second-generation immigrant and native Montreal families that include Cambodian, East Indian, French, Italian, Lebanese and Portuguese families. Similarly, the three teachers come from diverse cultural and linguistic backgrounds that include a native Montreal anglophone, an immigrant from Egypt who is fluent in Arabic, English and French, and a second-generation Italian Quebecer who is fluent in Italian, English and French. The diverse cultural and linguistic backgrounds of the participants add a further dimension to the research project, that is, an understanding of the dialogic encounters between multilingual children and teachers during literacy events in two languages and two classroom contexts.
I draw from Halliday's (1978, 1985) social theory of language use, Bakhtin's (1981, 1984) dialogical theory of discourse and Vygotsky's (1978, 1981, 1986) socio-cultural theory of language and learning to provide a theoretical lens for viewing the childrens' appropriation of literacy meaning making practices. I audiotaped, transcribed and interpreted the literacy events, teachers' discourse and discursive practices and the childrens' literate actions and artifacts for emerging patterns. In addition, interviews were transcribed, coded for emerging patterns and interpreted as socially negotiated texts.
The findings led me to four major conclusions. First, while institutional controls such as textbooks, programs, evaluation, and teacher beliefs about literacy continue to maintain power of literacy meaning making practices in these four classroom contexts, the reconstruction and negotiation of this power varies across the classroom contexts and amongst the teachers and children. Second, the teachers' discourse and discursive practices, as well as, situational complexities such as the intersections of cultures, communities, classrooms and languages shape the childrens' literacy perceptions, interpretations and constructions in English and French within and across the classroom contexts. Third, teaching practices for literacy meaning making are neither solely analytical or experiential nor are they solely explicit or implicit. The three teachers' literacy practices appear to be more along a continuum than a dichotomy, that is, they appear to be local, strategic and contexts-related. Fourth, the recognition of a plurality of literacies suggest that childrens' cultural stances and viewpoints need to be considered, as well as, the kinds of literacy experiences they are and are not being asked to engage in their English and French classrooms.

This research describes the revisions made in expressive and persuasive compositions by fifteen superior and fifteen randomly selected grade nine students. Each student wrote four papers: a rough draft of an assignment designed to elicit an expressive composition; two to four days later, a revision of the expressive first draft; a rough draft of an assignment designed to elict a persuasive composition; and, finally, a revision of the persuasive first draft. All the revisions made by the students were scored using a taxonomy of revision operations. Three research questions guided the analysis to determine whether there were differences in the number and kind of revisions between the expressive and persuasive writing modes, between the superior and randomly selected ability groups, or between the first and second drafts. Few statistically significant differences were found among the variables measured. Both ability groups revised expressive writing in much the same ways. About three quarters of revisions in both writing modes involved small units of texts. Over half were surface revisions of spelling, tense, number or modality, abbreviation, punctuation or format. One third were meaning preserving changes that did not affect the meaning of the text. In persuasive writing, the superior ability group made significantly fewer revisions. Both ability groups, writing in both modes, performed about three quarters of all revisions during the second writing session while working on the second draft. The results of this research offer little evidence of mode or ability related differences in the number or kind of revisions performed on sample essays. Other than fewer revisions in persuasive writing by superior students, no consistent relation was found between rates or kinds of revision and ability scores. Few writers were observed to use revision effectively to reformulate and improve compositions as do mature, experienced writers. Most revisions performed by this ninth grade sample dealt with surface details. At this age level, it appears, revision is used as a surface and word editing process performed at the end of a writing project.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate

This study examines the writing progress of six students over a period of five years and the effectiveness of the writing program each student experienced. Writing samples, standardized test scores, writing prompts, student surveys, and interviews with students and teachers combine to illuminate the strengths and weaknesses in the writing program.Quantitative data is derived from student surveys which illuminate the frequency student instruction in the best practices in writing instruction, in addition to the data collected from student standardized test scores. Qualitative data is disaggregated from student writing samples, writing prompts, and interviews, which demonstrate student knowledge of writing processes, and clarifies student experiences in writing instruction.The combination and examination of this data provides a clear picture of the students' five-year writing programs. In depth analysis this data illuminate strengths and weaknesses in the writing program experienced by the students. This paper also provides suggestions for improving writing instruction utilizing the best practices in writing instruction.
Department of English

This research addressed two major questions: (1) what effect does instruction in writing heuristics have on the expository writing of E.S.L. students? (2) is one writing heuristic better than another? In an experiment involving 116 twelfth-graders in eight classes, the subjects were randomly assigned within classes to one of three groups. Each of the three groups received ten hours of instruction: two groups in writing heuristics, and a third group which served as an experimental control received instruction in grammar. The study was a pretest/posttest design where essays were administered as the tests. The students' essays were scored for quantity (number of words) and quality. Scores were analyzed in a repeated measures design. The results revealed that there were no significant differences between the three groups on either the quantitative or qualitative measures. Although a review of the literature indicated support for the use of writing heuristics with E.S.L. students, the experimental evidence in this study does not substantiate this view.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

An investigation of the impact of the implementation of the curriculum innovation, the process writing approach (PWA), in the teaching and learning of writing may have on the beliefs of teachers and students in the area of writing was conducted. Using a collective case approach of three junior form English teachers, their beliefs about the effective teaching of writing, the usefulness and implementation of the PWA and its effects on their beliefs and practices post-implementation were investigated. Students of low, average and high linguistic ability and their beliefs about the effective teaching of writing were explored and the impact, if any, on students’ approach to writing post-implementation were investigated. A multi-dimensional methodology, which drew on both quantitative and qualitative data collection techniques, was employed. Findings showed that those teachers’ beliefs about the effective teaching of writing included aspects of genre and process approaches. These in turn affected their perceptions towards the top-down implementation and its usefulness in the classroom, raising issues such as teacher understanding, increased marking workload and feasibility prior to this year’s implementation. Other factors that affected the successfulness of the innovation reported post-implementation by teachers included the PWA’s time-consuming nature and students’ abilities, raising awareness of the importance of providing teacher autonomy in adapting the PWA to meet students’ needs across ability levels. In addition, though students held their own beliefs about the effective teaching of writing that included aspects of the genre approach as well as the importance of receiving teacher feedback, findings reported that the implementation of the new writing approach was positively well received by them regardless of their linguistic ability, as it not only increased their self-confidence in their writing skills but also their interest in learning from and sharing of writing. However, such were achieved at the expense of the reported increased pressure at the pre-writing stage as well as the difficulties faced in the peer editing and feedback stages. Causes of these findings were explored with a discussion on related pedagogical and research implications for similar contexts like this, with particular reference to the context of Hong Kong.
published_or_final_version
Education
Master
Master of Education

The text already produced by student writers can act as a barrier to revision because the existing textual material can become so salient as to prevent writers from generating alternative text. This study investigated the effects of applying a revision heuristic designed to promote successful revision by alleviating the influence exerted by students' initial formulations of text. Inexperienced college writers were randomly assigned to two treatment conditions and asked to produce three drafts of a two-part expository composition. The experimental group composed their second drafts without access to any material produced at the draft one stage but then received back this material at the third draft stage. The control group redrafted normally, having access at all times to previous draft material. Results showed that students in the experimental group produced significantly longer and better quality final drafts with significantly higher self-evaluation scores than students in the control group produced. The mean number of idea units that were retained, removed, or added by students in either group was significantly different at both the second and third draft stages. Each part of the assignment was affected differently. Significant interactions among condition, grade point average and writing apprehension were not evident. These findings indicated that this three-stage redrafting heuristic may be a valuable technique for encouraging successful revision of students' early drafts. Further research, particularly regarding how a text communicates information, would be beneficial to our understanding of the role played by existing text in students' compositions.
Education, Faculty of
Graduate