"Dance has connected me to my voice": the value of reflection in establishing effective dance pedagogy.

A variety of teaching pedagogies are used to teach dance which is now a compulsory core subject in the Arts and also taught in physical education. In this paper, I argue for the importance of a learner-centred pedagogy grounded in reflective practice. This forms a basis for developing a teaching approach that not only enriches students' artistic learning but develops their confidence as dancers and as people. Based on ongoing research with student dancers, I suggest that using reflective practice in teaching dance not only challenges dance educators to keep their pedagogy dynamic, but also creates a space in which teachers can respond more effectively to the needs of particular groups or individual students

Creativity and Culture in Copyright Theory

Creativity is universally agreed to be a good that copyright law should seek to promote, yet copyright scholarship and policymaking have proceeded largely on the basis of assumptions about what it actually is. When asked to discuss the source of their inspiration, individual artists describe a process that is intrinsically ineffable. Rights theorists of all varieties have generally subscribed to this understanding, describing creativity in terms of an individual liberty whose form remains largely unspecified. Economic theorists of copyright work from the opposite end of the creative process, seeking to divine the optimal rules for promoting creativity by measuring its marketable byproducts. But these theorists offer no particular reason to think that marketable byproducts are either an appropriate proxy or an effective stimulus for creativity (as opposed to production), and more typically refuse to engage the question. The upshot is that the more we talk about creativity, the more it disappears from view. At the same time, the mainstream of intellectual property scholarship has persistently overlooked a broad array of social science methodologies that provide both descriptive tools for constructing ethnographies of creative processes and theoretical tools for modeling them

The victorious English language: hegemonic practices in the management academy

This study explores hegemonic linguistic processes, that is, the dominant and unreflective use of the English language in the production of textual knowledge accounts. The authors see the production of management knowledge as situated in central or peripheral locations, which they examine from an English language perspective. Their inquiry is based on an empirical study based on the perspectives of 33 management academics (not English language speakers) in (semi) peripheral locations, who have to generate and disseminate knowledge in and through the English language. Although the hegemony of the center in the knowledge production process has long been acknowledged, the specific contribution of this study is to explore how the English language operates as part of the “ideological complex” that produces and maintains this hegemony, as well as how this hegemony is manifested at the local level of publication practices in peripherally located business and management schools

Captured voices in primary school art education.

Eisner (1972) articulated a long-standing orientation in art education as he described the triadic relationship between socio-centric, child-centred and discipline-centred approaches in art education praxis. Hickman (2005) observed that teachers and students are now positioned to embrace a wider range of discourses as to what art might be. This impacts on why students make art and how it is taught. Wider arts discourse has resulted in influential paradigms and historically preferred arts pedagogies (Efland, 2002, 2004; Eisner, 1972; Kerlavage, 1992; Price, 2005). These discourses influence policy, curriculum, teacher beliefs about art and ultimately the ways in which these influences are played out in classrooms. Eisner (2002) argued the need for "empirically grounded examples of artistic thinking related to the nature of the tasks students engage in, the materials they work with, the context's norms and the cues the teacher provides to advance their students thinking" (p. 217). This paper draws on such theory and a two year action-research project, The Art of the Matter (Fraser et al., 2006) involving case studies and analysis. This paper focuses on a Year 4 to Year 6 'drawing into painting' context taught by experienced generalist teachers in New Zealand primary schools. The influence of school culture and programme structures is explored. I raise questions as to which socio-cultural and discipline-centred voices generalist teachers have been captured by, and consider to what extent it possible to still discern a student whisper under the clamour and control of adult proscribed activity

Branding of UK higher education institutions: an integrated perspective on the content and style of welcome adresses

The transformation to a more market-oriented steering approach in European higher education challenges universities and other higher education institutions to consider developing branding or image management activities. The existing literature focuses either on the content or the style, but we argue that an integrated perspective is needed to fully grasp the processes underlying branding. In a comparative case study of ten UK higher education institutions with varying reputations – five highly reputed versus five low(er) reputed institutions – we demonstrate how and why branding is deployed in welcome addresses of institutional leaders. Our findings indicate that isomorphic tendencies are visible, although brand differentiation could also be identified between highly and lowly reputed institutions. Our findings provide support for the competitive group perspective on branding activities

Direct speech, subjectivity and speaker positioning in London English and Paris French

This paper examines functional similarities and differences in the use of pragmatic features – in particular quotatives and general extenders – on the right and left periphery of direct quotations. This comparative study, based on the analysis of a contemporary corpus of London English and Paris French (MLE – MPF) , finds that the form and frequency of these particles tend to vary not only with respect to social factors such as speakers’ age and gender, but also with respect to the different pragmatic functions they come to perform in different interactional settings. The contemporary data is analysed both qualitatively and quantitatively to show how different variants position the speaker in relation to: i) the content of the quote, ii) the interlocutors, iii) the presumed author of the quote. The paper aims to contribute to a better understanding of pragmatic universals and variability in the use of direct speech

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Trust and Betrayal in the Medical Marketplace

The author argues in this Comment that disingenuity as first resort is an unwise approach to the conflict between our ex ante and our later, illness-endangered selves. Not only does rationing by tacit deceit raise a host of moral problems, it will not work, over the long haul, because markets reward deceit\u27s unmasking. The honesty about clinical limit-setting that some bioethicists urge may not be fully within our reach. But more candor is possible than we now achieve, and the more conscious we are about decisions to impose limits, the more inclined we will be to accept them without experiencing betrayal

Stylization and representation in subtitles: can less be more?

This article considers film dialogues and interlingual subtitles from the point of view of linguistic and cultural representation, and revisits from that perspective the question of loss, as a platform for considering alternative views on the topic and broader theoretical issues. The cross-cultural pragmatics perspective and focus on viewers’ reactions that dealing with representation entails cast the question of loss in a different light and opens up avenues for alternative modes of analysis. They make room for subtitles to be construed as producing their own systems of multimodal textual representation and modes of interpretation, and for their text to be recognised as having a greater expressive and representational potential than face values might suggest. This is the argument, informed by Fowler's Theory of Mode (1991, 2000), that is taken up in the paper, and harnessed to the review of examples or observations from recent studies on subtitles, and complementary evidence from dubbing. The capacity of subtitles to produce insights into the cultures and languages represented is of particular interest, and has wider implications for the culturally instrumental functions of subtitles and translation strategies