This monograph reconsiders the question of speech isochrony, the regular recurrence of (stressed) syllables in time, from an empirical point of view. It proposes a methodology for discovering isochrony auditorily in speech and for verifying it instrumentally in the acoustic laboratory. In a small-scale study of an English conversational extract, the gestalt-like rhythmic structures which isochrony creates are shown to have a hierarchical organization.
To many academics, composition still represents typewritten texts on 8.5” x 11” pages that follow rote argumentative guidelines. In Toward a Composition Made Whole, Jody Shipka views composition as an act of communication that can be expressed through any number of media and as a path to meaning-making. Her study offers an in-depth examination of multimodality via the processes, values, structures, and semiotic practices people employ everyday to compose and communicate their thoughts.
Added by: Asia Summers | Karma: 5.35 | Coursebooks » Grammar | 11 February 2015
21
Access 2 Grammar Book KeyAccess 1–3 Grammar Books are in full colour and contain theory and examples of all grammar structures. Practice exercises give students the chance to practise the grammar structures present, speaking and writing tasks reinforce students’ ability to use the grammar structures presented. Exploring Grammar sections and Revisions Units offer students the chance to review structures previously studied. The books can be used as a supplement to the Access series or any other course at the same level.
The issue of permanence and change of word-order patterns has long been debated in both historical linguistics and structural theories. The interest in this theme has been revamped by contemporary research in typology with its emphasis on correlation or ‘harmonies’ of structures of word-order as explicative principles of both synchronic and diachronic processes.
This examination of the relation between law and drama in Renaissance England establishes the diversity of their dialogue, encompassing critique and complicity, comment and analogy, but argues that the way in which drama addresses legal problems and dilemmas is nevertheless distinctive. As the resemblance between law and theatre concerns their formal structures rather than their methods and aims, an interdisciplinary approach must be alive to distinctions as well as affinities.
