Declarative Statements Research Articles

The Intonation and Signaling of Declarative Questions in Manchego Peninsular Spanish

This paper is an experimental investigation on the tonal structure and phonetic signaling of declarative questions by speakers of Manchego Peninsular Spanish, a dialect of Spanish for which little experimental research on intonation is currently available. Analysis I examines the scaling and timing properties of final rises produced by 16 speakers under various pressures of tonal crowding. The quantitative results provide evidence for two contrasting nuclear pitch accent specifications: L* vs. H*. These data are consistent with the findings and analyses of final rises in Dutch, although certain time pressure effects had not been reported in this previous body of research. Analysis 2 provides a phonetic comparison of the two question contours uncovered in Analysis I with those of lexically and syntactically identical declarative statements. The findings indicate that speakers differentiate the two question contours from corresponding statement contours in dissimilar fashion and that for the L*H% contour, the terminal rise may be the only F0 signal of its question intent. Some speculation on the possible causes of this variation is offered in conclusion.

Black Skin, Black Masks: The Citational Self in the Work of Glenn Ligon

Black Skin, Black Masks: The Citational Self in the Work of Glenn Ligon Lauren DeLand (bio) “I am an invisible man”: so declares an untitled work of 1991 by the American conceptual artist Glenn Ligon before the queasy text smudged across the canvas gives way to illegibility (figure 1). A brief survey of Ligon’s contemporaneous works reveals the sustained use of this declarative “I”: another painting of the same year states, “I feel most colored when I am thrown against a sharp white background.” An untitled work of 1992 reads, “I’m turning into a specter before your very eyes.” The form the paintings assume is unvarying and simple: each repeats its given phrase over and over, stuttering across the white surface and gradually bleeding into an indecipherable inky mass. Unencumbered by other visual cues, Ligon’s paintings appear as a straightforward series of self-reflexive statements organized along the axes of racial and gender identification. Yet, for readers, a nagging sensation of familiarity may belie the apparently autobiographical nature of these texts. They in fact originate, respectively, from the writers Ralph Ellison, Zora Neale Hurston, and Jean Genêt. In repurposing these textual fragments from seminal works on racial identity and socialization, Ligon charts a conversion of the particularities of racial experience into the generalities of fiction from which he selectively gleans to represent his own experience in a black male body. The sources that comprise the “I” of Ligon’s work are a multitude, appropriated from art and literature to suggest a series of racial, sexual, and gender particularities that resemble Ligon’s own, an “autobiography” of which the subject has written not a single word. Even the appearance of Ligon’s own body in his work does not signal a simple act of self-reflexivity. This is deceptively true of a photo-serigraphic dyad of 1998, which initially appears to report the facts of Ligon’s physical features with a simplicity bordering on banality. For the inscrutable sameness of Ligon’s Self-Portrait Exaggerating My Black Features and Self-Portrait Exaggerating My White Features exists to critique notions of racial “difference” put forth in [End Page 507] Click for larger view View full resolution Figure 1. Glenn Ligon, Untitled (I Am An Invisible Man) (1991). Courtesy Glenn Ligon Studio. [End Page 508] a 1981 self-portrait in which conceptual artist Adrian Piper purported to exaggerate her “Negroid Features.” In Ligon’s work, identificatory declarations come from other lips, and the artist’s body represents not a unitary self, but a dialogic, citational, and wholly subjective being-for-others. It is by coalescing a legion of voices into an approximation of a unitary speaking subject that Ligon both gestures towards and offers thoughtfully a means of navigating a problem endemic to “black” art since its conception in the early twentieth century. “[B]lack art,” writes Darby English, “began its life as a component of a political program of uplift,” as leaders such as W. E. B. DuBois deemed “positive” representations of black American life to be a central plank in the project of enfranchisement.1 The development of the Black Arts and Black Aesthetics movements in the 1960s and 1970s imposed still more specific expectations upon black artists tasked with “representing” on behalf of their race,2 a responsibility further compounded by external as well as internal pressures in the 1990s as the politics of multiculturalism evolved into a central concern of a white-dominated art world suddenly interested in staging self-consciously the spectacle of racial difference within cultural forums. The presumption, and expectation, that the black speaking subject represents always on behalf of bodies external to her own emerged at the selfsame moment as the notion of the “black artist” itself. When one takes into consideration also that the black body itself constitutes, in English’s words, “a black representational space par excellence,”3 in that the actions of individual black subjects are routinely scrutinized and judged to be indicative of qualities endemic to their race, the full weight of the burdensome, promiscuous task of developing black subjectivities comes to rest. By offering appropriated declarative statements on race in lieu of his own black body...

Water’s Footfall by Sohrab Sepehri

colorado review 168 Water’s Footfall, by Sohrab Sepehri translated by Kazim Ali with Mohammad Jafar Mahallati Omnidawn, 2011 reviewed by Roger Sedarat The modest though significant recent influx of translations in American publishing, often by smaller presses, continues to introduce English readers to established poets from various literary traditions who have gone unrecognized throughout most of the world. Kazim Ali’s rendering of the Persian poet Sohrab Sepehri’s long lyrical poem Water’s Footfall, translated with a scholar of Islamic studies and Sufi poetry, offers fidelity to both the letter and the spirit of an important modern book of verse from Iran that warrants reading. Sohrab Sepehri (1928–1980), from Kashan, Iran, authored six collections during his lifetime, with three additional collections published posthumously. This book, his fourth, was written in the 1960s, after he had already made much progress toward developing his distinct poetic voice. A painter by training , he remains well known among Iranians for his visual art in addition to his poetry. (In 2009–2010, the Tehran Museum of Modern Art featured a retrospective of his work.) Like other talented poets who paint, especially those from the Far East, such as Buson and Mi Fu, he imbues his writing with rich visual imagery from nature. Such comparisons to Japanese and Chinese poet-artists prove particularly apt for Sepehri, who retains throughout his writing a keen cosmopolitan interest in the literatures of Asia as well as those of Europe. Consider for example the simple, direct descriptions in the following passage. With editing and different line breaks, this could become haiku: The florist is having a fire-sale. A poet hangs a rope-swing between two jasmine trees. A schoolboy pelting stones at the wall. A child spitting apricot pits on his father’s prayer rug, a goat drinks long from a map of the Caspian. A clothesline—bra flapping, impatient in the wind. An especially modern reason for a poet to read poetry outside of his or her traditional domain is to absorb various influences 169 Book Notes in one’s own writing, heeding Ezra Pound’s twentieth-century axiom to “make it new.” Sepehri offers a great example as to how poets from traditions outside of the better-known westerners like Pound and Eliot appropriated styles and themes in their work. In the lines above, active, transitory nature, delivered with accessible diction, gets metaphorically mapped onto the Caspian Sea, as the child offers defiant commentary on parental authority metonymically linked to an Islamic prayer rug. Such conflation of a transnatural sensibility, deriving in part from readings outside Persian verse and juxtaposed with distinct cultural allusions to geography and religion, begins to inform this poet’s modernist moves. Modernism itself means something quite different in other cultures, and this translation of Sepehri’s verse begins to demonstrate an important lesson in Iranian poetics of the last century. Breaking from meter and rhyme in Europe and America quickly became a given, as western poets sought further and much more radical experimentation, whereas for Persian poets like Sohrab Sepehri, Nima Youshij, and Forough Farrokhzad, who come from a two-thousand-year tradition defined by the closed form of the ghazal, this violation itself very much remained the revolution . Of course, these individuals rendered their verse distinct through various new thematic as well as stylistic choices. While at first glance a long poem like Water’s Footfall appears conservative relative to poems written by Robert Lowell or E. E. Cummings in America during the 1960s, a closer reading of this accessible book on its own, Persian terms, reveals a significantly different modernist perspective. A series of declarative statements, often linked by anaphora, reports upon the poet’s experience in nature. Sufism, which derives from Islam yet makes, like Emerson in the American romantic tradition, a religion of nature, informs the entire twentythree -page poem. (The small book places, on each facing page, the Persian translation, which, even for those unable to read in the language, shows how close to the form the translators remain .) In addition to ordering verse by syntax and idea instead of by meter and rhyme, Sepehri avoids the dominant Persian tendency toward didacticism, allowing the...

Essay Review: Piero's Flagellation of Christ Elucidated?

PIERO'S FLAGELLATION OF CHRIST ELUCIDATED? Astrolabes and Angels, Epigrams and Enigmas: From Regiomontanus' Acrostic for Cardinal Bessarion to Piero della Francesca' s of Christ. David King (Boethius: Texte und Abhandlungen zur Geschichte der Mathematik und der Naturwissenschaften, Ivi; Franz Steiner Verlag, Stuttgart, 2007). Pp. xii + 348 + CD-ROM. euro78. ISBN 978-3-515-09061-2.Readers of this journal will recognize with respect name of David King, who has earned an international reputation in history of Islamic astronomy. King is arguably leading historian of astrolabe, for he probably has seen, catalogued, and studied more astrolabes than anyone else, and not only those of Islamic civilization. In main part of this book King returns to an instrument about which he and Gerard Turner published a fundamental article. It is famous astrolabe that Johannes Regiomontanus (1436-76) in 1462 gave to his patron, Greek emigre Cardinal Bessarion (1408-72), a leading intellectual and astronomical enthusiast.1 King's primary focus now is Regiomontanus's four-line dedication to Bessarion, which he believes to be an acrostic that not only identifies figures in of Christ by Piero della Francesca (d. 1492), but also explains structure of this famous, mysterious and controversial painting.King's title aptly warns us not to expect standard fare; indeed, book is unusual from beginning to end. Substituting for author's name on title page is phrase An essay by David A. King inspired by two remarkable discoveries by Berthold Holzschuh. Curious already. As a member of King's 2005 Frankfurt seminar, Holzschuh first proposed key ideas that King takes up. We soon learn that he disagrees with many of King's extensions of his own hypotheses in present book.2 In Notes to Reader, King acknowledges layout problems and missing footnotes that resulted from his rushing book into print. Next, he summarizes book, significance of which he links with extravagant claim (repeated) that his is the first hypothesis [about Piero 's Flagellation of Christ] to be based on a contemporaneous document (p. viii). By this, he means four-line dedication on Regiomontanus's astrolabe. The table of contents includes one prelude and one conclusion, two tributes to Holzschuh, and three interludes interspersed among four parts. Nine appendices (almost half book) discuss various aspects of history of astrolabe, including valuable - and controversial - material on sole surviving astrolabe with a Greek inscription (1062) and on several dozen fifteenthcentury astrolabes that King convincingly links to a Viennese workshop. After useful bibliographical and biographical material, King's acknowledgments broach candidly scepticism with which his critics, many of them sympathetic, from members of his 2005 seminar outward, have greeted his claims. Finally, after index, a CD-ROM inside back cover contains King's claims in form of a 238-slide show (the illustrations, both here and in book, are generally excellent).What is King arguing? This question is not always easy to answer. He took in such an impressive amount of history and art history in a short time that book is not fully digested. On expository grounds alone, it was published prematurely. Its pages offer a profusion of details and correlations - geometrical, numerical, alphabetical, symbolic, and biographical - that lead to sometimes competing claims. The reader is left to figure out when a specific point counts as a thesis, a suggestion, a probability, a coincidence, or a passing thought, and whether a new claim replaces, or should be added to, previous ones. Since King's Summary (pp. vii-viii) and Prelude (pp. 1-12) contain some concise declarative statements of core ideas, I will treat them as canonical, even though they are sometimes inconsistent with later ones:I maintain first that epigram on [1462] astrolabe provided ideas for composition and basic geometrical structure for painting, and second that each of eight images across painting represents at least two persons whose identities are deliberately partially concealed (p. …

Evaluating knowledge of the nature of (whole) science

AbstractI profile here a prospective method for assessing nature of science (NOS) knowledge, as an alternative to VNOS and similar approaches. Questions about cases in contemporary news and from history probe scientific literacy in context. Scoring targets how “well informed” the analysis is, based on identifying relevant NOS information and interpreting its import appropriately. The assessment shifts focus from declarative statements to functional (or interpretive) analysis. It also entails reframing current NOS characterizations from selective lists of tenets to the multiple dimensions shaping reliability in scientific practice, from the experimental to the social—namely, to Whole Science. This approach underscores the role of reflective student inquiry and historical and contemporary cases in NOS instruction. © 2011 Wiley Periodicals, Inc. Sci Ed 95: 518–542, 2011

Enhancing Self‐Referencing to Health Messages

A mediation model in which internal and external request tactics enhances the perceived effectiveness of a public health messages by increasing self‐referencing, but only for persons concerned about the targeted health issue. For those concerned about hepatitis B (but not for those who are not concerned), using second‐person pronouns rather than third‐person terms (an internal request tactic) and using rhetorical questions rather than declarative statements in the ad headings (an external request tactic) enhance perceived message effectiveness. As expected, both processes are mediated by increased self‐referencing.

Green Glass and Emeralds: Citation, Performance, and the Dynamics of Ethnic Parody in <i>Thoroughly Modern Millie</i>

If I were to make a list of the areas in which America excels, from the sublime to the ridiculous--political freedom to fast food--musical theatre would top the sublime column. Not only did we invent musicals, we have re-framed and re-created them to suit the needs of the times in which they are being presented, from Oklahoma/to A Chorus Line, Show Boat to Rent. --Dick Scanlan, Modern Millie: Red, White and Blues (22) While I truly do prefer emeralds, we could have made it on green glass. --Thoroughly Modern Millie (1967) From the time of its emergence as a distinct theatrical genre in the early twentieth century, the American book musical has played a significant role in the formation of a national persona inflected by the particularities of race, ethnicity, gender, and sexuality. (1) Widely considered by US cultural historians to be one of three uniquely American art forms, along with jazz and the Hollywood film, American musicals, like all dominant forms of popular culture, have effectively expressed contemporary values and concerns while at the same time participating in the more enduring project of articulating and shaping a collective identity. As a form of total theater defined by its integration of spoken dialogue, song, and dance to develop a sustained dramatic plot, the American or Broadway musical has the capacity to be a particularly persuasive medium, producing its effects through mutually reinforcing intellectual, psychological, and affective channels of communication. With their award-winning 2000 stage adaptation of the 1967 film musical comedy Thoroughly Modern Millie, Richard Morris and Dick Scanlan continued a long tradition of conjoining musical theater form and ethnically marked embodiment to rescript conceptions of a national identity. Whereas the original screen version was intended as a spoof of the manners, fashions, and values of the Roaring Twenties as they were depicted in popular cultural forms of the era, the new turn-of-the-century stage adaptation had the more ambitious goal of replaying and updating one of the dominant narratives of American identity. Dick Scanlan, the motivating force behind the radically reconceptualized adaptation, describes his vision of the show in an essay titled Modern Millie: Red, White, and Blues: The same drive to find a better life is at the core of what the settlers were doing when they landed at Plymouth Rock. Millie's clothes may be more fabulous than the Puritan look, but her desires are the desires on which this country was founded, and on which it still thrives. To explore those desires in a musical comedy is the perfect fusion of form and theme: 100% American. (22) In Scanlan's version, white Midwesterners, Asian immigrants, and African Americans form a common community of migrants who have relocated in search of a better life. In the new stage musical's popular theatrical redefinition of what it means to be American in the twenty-first century, the original narratives of nation-building, which were always implicitly and more often than not explicitly exclusive, are rewritten in the form of individual life sketches that overturn the notion of a collective identity dependent on racial and gender hierarchies and cultural homogeneity. Scanlan's goal was to embody the spirit of the present multiracial and multicultural era of American society and American theater. Rather than relying on straightforward representations or declarative statements to accomplish this task, however, Thoroughly Modern Millie operates in the mode of second-order parody, using over-emphatic citations and performances within performances to deconstruct stereotypes and reformulate social relations. The racial, ethnic, and gender stereotypes that the stage musical's celluloid predecessor parodied on screen are undermined by means of intertextual humor that invites spectatorial complicity. …

PRO: All Patients With Serous and Clear Cell Carcinomas of the Endometrium Should Receive Chemotherapy as Part of Their Treatment

U Introduction Uterine papillary serous carcinoma (UPSC) and uterine clear cell carcinoma (UCCC) represent 2 rare endometrial cancer subtypes with significantly worse outcomes than the more common endometrioid endometrial cancer (EEC) subtype. Homogeneous prospective data are lacking that inform upon optimal treatment strategies for these cancers. Phase III chemotherapy trials in advancedstage disease that include UPSC and UCCC as well as retrospective and phase II trials specifically addressing the role of chemotherapy in advanced-stage UPSC and UCCC suggest that all of these patients should receive adjuvant platinumand taxane-based chemotherapy. There are no completed prospective trials addressing chemotherapy in early-stage UPSC and UCCC and retrospective data alone have driven treatment recommendations for these tumors. Given the tendency of UPSC and UCCC to recur distally, the low salvage rates observed after recurrence, and the survival benefit associated with adjuvant chemotherapy, the available retrospective data suggest that all patients with early-stage UPSC and UCCC should receive platinumand taxane-based chemotherapy as part of the adjuvant treatment plan. In gynecologic oncology, several declarative statements can be made regarding treatment strategies for women with gynecologic

Quite Contrary: The Cultivation of Self in Mary Mebane's Autobiography

The constraints, restraints, hidden threats that we lived under, that were conditions of our lives, inevitably produced mutations in natural human flowering. To me we were like plants that were meant to grow upright but became bent and twisted, stunted, sometimes stretching out and running along ground, because conditions of our forbade our developing upward naturally. --Mary Mebane, (1) first of two autobiographies, begins with one-sentence paragraph, My name is Mary (3). This single line evokes one of other seminal first lines of American literature--Call me Ishmael. Similar to Moby-Dick narrator, Mebane seems simply to be declaring her own presence and individuality. However, by avoiding subject pronoun I, Mebane begins her narrative by creating a distance between herself as object, Mary, and herself as subject, I, emphasizing difference between name and being--between object and subject. Mebane, by avoiding subject position, destabilizes subjectivity of her narrator just as Melville, by avoiding declarative statements, destabilizes reliability of his narrator. While Mebane originally resists subject position, she eventually enters scopic economy and seizes role of observer. By declaring her control of gaze, announces that she is indeed a subject and an individual. (2) Describing her birth as when she opened her eyes to world, Mebane begins half of sentences in second paragraph with I. In second paragraph of work, Mebane embraces and enjoys her subjectivity. Describing an innocent childhood paradise (Weyler 45, Hobson Loneliness 181), Mebane states, the world was a green Eden--and it was magic (3). Sitting on a rock in center of yard--a representative tree of knowledge--Mebane see everything (3). According to Mebane, she liked to look (3). Although second paragraph begins with Mebane developing as a subject in Garden of Eden, it ends with a tragedy--Nonnie Mebane, Mary's mother, brings death into space. (3) Mebane writes, Mama must have told me several thousand times that was going to die with my eyes open, looking (3). Portrayed by her daughter as both an oppressed African American woman and an oppressive matriarchal force, Nonnie asserts her own subjectivity and gaze to supplant subject and force her daughter back into an object position. The primary conflict of narrative emerges in next paragraph, as Mebane attempts to reassert her subjectivity. Indicating a resistance to domestic pressure and limitations, Mebane states, I sat on rock with my back to (3). Acknowledging existing domestic community, Mebane writes, behind me could overhear voices coming from back porch and kitchen (3). However, refusing to heed those (authoritative?) voices, Mebane uses gaze to insist on her own subjectivity and to struggle for ability to define her own identity. By asserting her own selfhood, Mebane finds herself in metaphorical yard--the liminal space between domain of house and wider communities. As an academically gifted African American female growing up in a rural North Carolina town, (4) Mebane constantly finds herself having to negotiate demands of various communities as she attempts to reconcile/unify different aspects of her identity. Living in Wildwood community of Durham County, North Carolina during middle of twentieth century, Mebane must reconcile various demands and pressures placed upon her as a southern African American female. The domestic battles between mother and daughter represent battles Mebane must wage with other communities as she attempts to cultivate an individual identity against class, gender, race, and color pressures. As Karen Weyler states, Mebane's mother eventually stands in as a synecdoche for rest of community, and conflicts with her mother embody her conflicts with environment (46). …

Peter Flinsch: The Body in Question (review)

Reviewed by: Peter Flinsch: The Body in Question John Paul Ricco (bio) Ross Higgins . Peter Flinsch: The Body in Question. Arsenal Pulp. 174. $27.95 As might be expected, the convergence of male bodies, sexual desire, place, and speech that diagrams a politics of modern masculinity was all too acutely felt by a twenty-two-year-old member of the German Luftwaffe who, while at a military Christmas party in 1942, was caught kissing a subordinate male officer. Prosecuted for violating the German [End Page 452] penal code against homosexual acts, the young man is sentenced to the punishment of clearing the war field of landmines, having perhaps not so accidentally stepped on one marked 'homo-masculinity.' In many respects it is this event that will set in motion the life of Peter Flinsch and that grounds Ross Higgins's biographical narrative of this gay male artist who, for the past fifty-five years in Montreal, has created a vast archive of images of iconic male figures, from which are derived the over one hundred drawings - in various and often mixed media - that have been assembled in Peter Flinsch: The Body in Question. Born in Leipzig in 1920 to an upper-middle-class family, which included the art historian Ulrich Thieme (maternal grandfather, and founder of the authoritative, thirty-seven-volume artist's dictionary Thieme-Becker Künstler Lexikon), Flinsch grew up in a milieu of art scholarship and connoisseurship. After the war he moved to Paris and around 1952 to Vancouver, where, with his boyfriend, the dancer Heino Heiden, he founded the Vancouver Ballet. Two years later, Peter followed Heiden to Montreal, where for the next thirty years he worked as a set designer and artistic director for CBC television. Ross Higgins's introductory essay, based upon interviews with the artist over the past sixteen years, richly narrates Flinsch's life, one that has followed a dramatic course that is only hinted at by the few, albeit key, events mentioned above. The degree to which the figures of muscular and athletically fit male bodies in Flinsch's work function as icons of gay male desire is commensurate with the lack of details that would enable one to identify the specific sexually charged social spaces in which Flinsch encountered these bodies: the locker room and sauna of the YMCA, and the bars, bathhouses, gyms, and strip joints along St Catherine Street, in Montreal's 'Village.' Whether this is explained in terms of the equally iconic status of these places such that they need only be graphically hinted at, or by the artistic desire to privilege figure over ground, or even perhaps by the liberation from the need to envision backgrounds felt by an artist whose day job required him to design backdrops and sets for ballet, theatre, and television, nonetheless, this lack of contextual detail creates a curious tension between the work and Ross Higgins's discussion of it. For while Higgins, a professor of sexuality and anthropology at Concordia University, Montreal, author of De la clandestine a l'affirmation: pour une histoire de la communauté gaie montréalaise (1999), and an authority on the history of Montreal's gay culture, wishes to treat Flinsch's images as ethnographic visual documents of this history, the infinite recession of contextual details doesn't make Flinsch's works the most reliable guides of gay haunts. This is in no way to criticize either the artist or the writer, yet it does lead me to point to Flinsch's use of titles and declarative statements. Written right on the drawing's surface, these inscriptions can be [End Page 453] understood to exist between figure and ground, and to open up an interlocutory space that is one of the most distinct and sophisticated features of Flinsch's representation of the scenes of gay male culture. Witty puns and double entendres (plate 23 'Three Linemen with Stiff Cables'), alliteration (plate 68 'Just Testing Testicles'), and apostrophe (plate 103 'I Am the Answer to a Virgin's Prayer'), the titles not only linguistically play with their description of the subjects represented, but at times critically comment on the very form of the work (plate 59 the...

The Condition of Art Education: Critical Visual Art Education [CVAE] Club, Winter 2010

Artist Ad Reinhardt's 1 991 prediction of the Future of Art can be interpreted as the condition of art education in 2010. He writes, next revolution will see the emancipation of the university academy of art from its market-place fantasies and its emergence as a center of consciousness and conscience (p. 62). The focus in the fields of art and art education has increasingly turned toward the social as well as aesthetic aspects of experience. Creating and responding to art in the context of people's everyday lives has become a dominant center of art practices. Art educators should recognize these shifts and work collectively to realize our strengths and responsibilities as we grapple with the complexities of art in society. Collectivity involves a process of coming to relative agreement on shared goals of the field and an understanding of the necessary components of a cohesive art education. Establishing a broad yet defined framework for the field provides a unifying structure that promotes opposing discourse and investigation without fragmentation (see Figure 1 ).In an effort to move beyond previously defined disciplinary boundaries, (i.e., seeking broader, yet related, transdisciplinary discourse), this document strives to confront art education's moment of crisis; a crisis that stems from instability in public education, economic uncertainty, the impact of No Child Left Behind, standardized testing, and technocratic forms of education. The Critical Visual Art Education (CVAE) Club argues for a collective, transdisciplinary process moving forward into a new era of art education.1 In this document, CVAE identifies declarative statements that approach the field with inclusive examination of its past, present, and future.In order to determine what has been successful and what has failed, what we wish to keep and to discard, our argument extends from specific movements and categories derived from literature that have served to define, promote, explain, and clarify new and renewed movements in the field. These include: Creative Self-Expression, Child-Centered Approach, Discipline-Based Art Education, Social Reconstructionism,Multiculturalism,Environmental/ Eco-Based Art Education, Community-Based Art Education, Narratives/Literacy, Issues-Based Art Education, Arts-Based Research, and Visual and Material Culture (Carpenter & Tavin, 201 0; Gaudelius & Speirs, 2002).From these movements, CVAE derives its own statements that symbolize holistic art education. We envision an art education that promotes an understanding of visual and material culture and its influence in shaping everyday life through transdisciplinarity, critical dialogue, cultural production, global discourse, and artistic reasoning and practice. These themes are useful in framing the following declarative statements that describe the needs of the field based on our individual perspectives as contemporary art educators.2 We wish to promote transdisciplinarity and collective processes that may engage a broader range of citizens, artists, teachers, theoreticians, and scholars. These statements reflect the growing effort of many like-minded art educators who call for broader dialogue informed by localized cultural communities and global interactions (Delacruz, Arnold, Kuo, & Parsons, 2009; Grierson, 2008). Our intent is to explore a concept of art education informed by theories and practices relative to the field of art education. These statements attempt to form an inclusive and permeable network for art education that we hope others will contribute to, perforate, and disrupt.StatementsTransdisciplinarityThe present situation in art education is one of 'crisis', e.g., instability in public education, economic uncertainty, the impact of No Child Left Behind, standardized testing, and technocratic forms of education driven by the politics of accountability (Sabol, 201 0,-Taubman, 2009). Radical new technologies are shaping how we live and interact (Roland, 2010), as well as extraordinary political and economic shifts in culture. …

Tevredenheid van ouders over het schisisteam

In this contribution, the results are presented of a study of the degree of satisfaction among parents of children with a cleft lip and/or palate with care provided for their children. A questionnaire with declarative statements and a number of open questions relevant to treatment received was sent to the 213 members of the workgroup Cleft Lip and/or Palate of the society of the motor-handicapped and their parents. In addition, parents were asked to give a grade for the team who treated their child. The results (response n = 101) indicate that, with respect to a number of aspects, there are differences in satisfaction concerning the care which was provided among the 5 treatment-teams with the most responses. The average grade given by parents for the care provided by Dutch cleft lip and/or palate teams was 7.4. Parents would like to be better informed and treated in a friendlier way.

African American Adolescent Males' Views on Doctors and the Health Care System

African American adolescent males have disproportionately high rates of morbidity and mortality and low levels of primary care use. To optimize health care for this group, there is a need to understand their views on doctors and health care, reasons for foregone care, and preferences regarding provision of health care. This was a pilot survey of African American adolescent males attending community groups in Chicago. A majority of respondents agreed with declarative statements about doctors being considerate, truthful, and respectful (63%, 80%, and 80%, respectively). A majority also indicated that the health care system informs them of ways to stay healthy (65%), but fewer agreed that it meets the needs of adolescents and minorities (44% and 33%, respectively). Race/gender concordance with physicians did not seem to be a high priority. Significant reasons for foregone care included conflict with school hours, parents not having time, and lack of transportation. Despite access issues, only a minority of participants wanted health care services co-located with other aspects of their daily lives (school, community centers, church, and barbershops). African American adolescent males may view doctors and the health care system positively. Eliminating barriers to care and ensuring positive interactions may create opportunities to improve health issues afflicting these at-risk adolescents.

'과학동아' 지구과학 기사의 언어적 특성으로 본 과학 잡지의 과학 대중화 기제

과학 잡지가 과학자와 일반인 사이의 접점 역할을 수행하며 과학의 대중화에 기여할 수 있게 해 주는 기제를 과학 잡지 텍스트의 언어적 특성에서 찾기 위하여 과학 동아에 수록된 지구과학 관련 기사 12편을 선정하였다. 선정된 과학 잡지 텍스트의 언어적 특성을 규명하기 위하여 레지스터 분석을 실시하였다. 연구 결과, 1) 기자가 쓴 글은 과학자의 사유와 대화를 표현하는 인식적 술어와 발화적 술어의 비율이 높았다. 2) 기자의 글에는 문장의 주체가 사람으로 드러나는 비율이 높지만 과학자의 글에는 사람은 거의 드러나지 않으며 주체가 생략된 경우도 많았다. 3) 과학자의 글은 대부분 평서형 서법을 사용하지만, 기자가 쓴 글에서는 의문형과 청유형 서법, 생략 등의 비평서형 문장이 많았다. 4) 문장 속에 포함된 절의 밀도는 기자의 글이나 과학자의 글 모두 비슷하였다. 5) 정보의 구조 또한, 기자의 글은 단순한 정보의 발전 형태를 띠었고, 과학자의 글은 그에 비해 다소 복잡한 정보 구조를 나타내었다. 과학 잡지 텍스트의 언어적 특징을 통해 과학 잡지는 기자의 글을 통해 어려운 과학 내용을 쉽고 친숙한 텍스트로 제시함으로써 과학의 대중화에 기여할 뿐 아니라, 과학자가 쓴 순화된 과학 텍스트를 통해 일반인들을 과학의 언어라는 과학의 문화에 친숙하게 함으로써 과학의 대중화에 기여하게 됨을 밝혀 내었다. The purpose of this study was to investigate how a science magazine played a role in filling the gap between scientists and the general public, and how it contributed to science popularization. We analyzed the linguistic features of the texts used in a science magazine. We used 12 articles (six written by journalists, and six written by scientists) from the Science Donga. Register analysis was conducted in order to define the linguistic features of the texts in terms of ideational meaning, interpersonal meaning and, textual meaning. Results of this study are as follows: (1) the articles written by journalists used a higher mental and verbal processes in which the conversations and thoughts of scientists were expressed. (2) Human agents were relatively explicit in the journalists' articles. However, they were implicit or omitted in the articles of scientists. (3) Interrogative sentences and inclusive imperative sentences, and even omissions were frequently found in the journalists' articles whereas scientists' articles mainly used declarative statements. (4) The clause density of journalist' articles and scientists' were similarly lower than that of science textbooks. (5) The information structure revealed by the patterns of Theme and Rheme that the journalists' articles used in science magazines was simpler than that of science textbooks, while the structure of scientists' articles was more complex than that of journalists'. Based on the linguistic features of the texts used in science magazines, we found that a science magazine contributes to science popularization in two faces: One is in that the articles of journalists present science contents in a way that the readers can follow with ease and feel well-acquainted. The other is that the modified articles of scientists help the general public get familiar with the culuture of science in terms of use of science language.

When consensus counts: Exploring the impact of consensus claims in advertising

Consensus claims are broad declarative statements used in an advertisement purporting that a majority of a certain group of consumers prefer or use the sponsor's product or service. While consensus claims are frequently used by advertisers, little is known about how they operate or their effectiveness. We utilize attribution theory to provide insight about how consensus claims operate, and to investigate the impact of consensus claims on attributions and brand attitudes. Results suggest consensus claims are an effective advertising strategy, but their persuasive impact varies according to the featured social information and the processing motivation of audience members.

An integrated proof language for imperative programs

We present an integrated proof language for guiding the actions of multiple reasoning systems as they work together to prove complex correctness properties of imperative programs. The language operates in the context of a program verification system that uses multiple reasoning systems to discharge generated proof obligations. It is designed to 1) enable developers to resolve key choice points in complex program correctness proofs, thereby enabling automated reasoning systems to successfully prove the desired correctness properties; 2) allow developers to identify key lemmas for the reasoning systems to prove, thereby guiding the reasoning systems to find an effective proof decomposition; 3) enable multiple reasoning systems to work together productively to prove a single correctness property by providing a mechanism that developers can use to divide the property into lemmas, each of which is suitable for a different reasoning system; and 4) enable developers to identify specific lemmas that the reasoning systems should use when attempting to prove other lemmas or correctness properties, thereby appropriately confining the search space so that the reasoning systems can find a proof in an acceptable amount of time. The language includes a rich set of declarative proof constructs that enables developers to direct the reasoning systems as little or as much as they desire. Because the declarative proof statements are embedded into the program as specialized comments, they also serve as verified documentation and are a natural extension of the assertion mechanism found in most program verification systems. We have implemented our integrated proof language in the context of a program verification system for Java and used the resulting system to verify a collection of linked data structure implementations. Our experience indicates that our proof language makes it possible to successfully prove complex program correctness properties that are otherwise beyond the reach of automated reasoning systems.

Subjectivity out of irony

Subjectivity plays an important role in how meaning is created and construed. It concerns the expression of self and the representation of a speaker's perspective or point of view in the interaction with somebody else. The subjectivity explored in this article concerns mainly one special form of self-awareness insofar as it is related to irony. The argument of this article will be carried out in three steps: We first will deal with the main linguistic theories regarding irony. This will lead us to the conclusion that irony — at least in some cases — involves a form of non-propositional knowledge that needs to be identified and captured for irony. In a second step, we will describe this type of non-propositional knowledge, in particular distinguishing it from propositional knowledge. The discussion of non-propositional knowledge as one marker of subjectivity will then lead us to discuss irony — beyond its semantic utterances — as a personal disposition. When we call utterances ironic we are referring to them as linguistic constructs and we deal with the respective content of their declarative statements, technically speaking, the proposition. In this contribution we are interested in showing how ironic utterances lead back to a personal disposition.

Automatic recognition of Indonesian declarative questions and statements using polynomial coefficients of the pitch contours

We propose an automatic utterance type recognizer that distinguishes declarative questions from statements in Indonesian speech. Since utterances in these two types have the same words with the same order and differ only in their intonations, their classification requires not only a speech recognizer, but also an intonation recognizer. In this paper, the most important utterance part for distinguishing those two types is first identified by perceptual experiments. Then, an utterance type recognizer using that part is proposed, where polynomial expansion is used as a feature extractor and a neural network is used as a classifier. We evaluated our method using Indonesian speech database including 29 pairs of sentences of those two types, each of which uttered by 35 speakers. It was proved that final word and final-two-syllables are equally effective for the discrimination of each utterance. The proposed recognizer achieved the best accuracy of 89.1% when the order of polynomial expansion was three and the neural network was a linear perceptron.

Passive gazing and the voiceless subject inthe literature classroom

High school literature lessons all too often produce students whose own reflective thinking about the literary texts they read is either limited or non-existent. The need to introduce the idea of wide-awakeness becomes urgent. Encouraging a form of interpretation that allows students their own voice, and makes good use of the rich diversity that exists in many of our classrooms may require a re-examination of some of the practices we have tended to take for granted as sound. Three such practices are reflected upon here: the use of declarative statements before a text is read and studied; the mechanistic way in which metaphor is studied; and the use of such questions in the traditional contextual question exercise as to deliberately prevent any attempt by students to reflect, disagree or argue a point.

Teacher‐involved conversations with young children during small group activity

This qualitative study examines the conversations of two preschool teachers with two‐ and three‐year‐old children during small‐group activity settings in two high‐quality child development centers. Using interviews, observations and videotaping of small‐group activities, the conversations are characterized in terms of the kind and function of language, the usage of cognitive demands and the reciprocal nature of these conversations. The findings indicate that teachers use declarative statements primarily to manage instruction and encourage language development. While teachers control most conversations, teacher–child reciprocity is evident and more genuine in authentic, teacher‐guided activities. In both classrooms, the language during small‐group activities is characterized as having low cognitive demands. Teachers and teacher educators need to be more cognizant of their language, including its purpose and opportunities to facilitate cognitively challenging conversations with young children. Recommendations for practice are provided.