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Differences Across Levels in the Language of Agency and Ability in Rating Scales for Large-Scale Second Language Writing Assessments

used to measure writing performance in US intensive English programs. The CATESOL Journal 22(1). 113–130. Billig, Michael. 2008. The language of critical discourse analysis: The case of nominalization. Discourse & Society 19(6). 783–800. DOI: 10.1177/0957926508095894 Brindley, Geoff. 1998. Describing language development? Rating scales and SLA. In Lyle F. Bachman & Andrew D. Cohen (eds.), Interfaces between second language acquisition and language testing research , 112–140. New York: Cambridge University Press. Bucholtz, Mary & Kira Hall. 2005

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The Quest of Young Turkish Playwrights: In-Yer-Face Theatre

. Eldridge, David. “In-Yer-Face and After.” Studies in Theatre and Performance 31.1 (2003): 55-58. Giritli, Mehmet Zeki. “Tiyatronun Büyük Yalanı: In-Your-Face.” Mimesis . N.d. Web. 16 Sept. 2017. İzci, İpek. “Muhalif Tiyatroya Tahammül Yok.” Radikal . Web. 21 Sept. 2017. Kalaycıoğlu, Ersin. “The Motherland Party: The Challenge of Institutionalization in a Charismatic Leader Party.” Political Parties in Turkey . Ed. Barry Rubin and Metin Heper. London: Frank Cass, 2002. 41-61. Kritzer, Amelia Howe. Political Theatre in Post-Thatcher Britain

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Lacan Frames Scorsese’s Paintings in The Age of Innocence

Abstract

This article, which brings together film, psychoanalysis, literature, and art, focuses on the role of paintings in Martin Scorsese’s The Age of Innocence (1993). Scorsese conveys the imprisonment of New York aristocrats within the framework of social conventions and their evasions of social restrictions through his employment of paintings. Because the protagonists’ emotions are not revealed often, the director communicates their dramas and actions with the help of the paintings they own or appear next to. The paintings operate as Jacques Lacan’s Other, an entity that watches over the characters to make sure they conform to its selfperpetuating rules. Scorsese’s use of paintings shows that the characters perform for the Other and seek to maintain the status quo. While most characters perform within a Lacanian symbolic order, their different responses to a variety of paintings underscore the flexibility of the symbolic order.

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Performing Arabness in Arab American Stand-up Comedy

Abstract

This article deals with the dramatic art of stand-up comedy. It locates Arab American stand-up comedy within a broader American humorous tradition and investigates the way Arab American performers use this art to negotiate and (re)construct their identity. The main question in this article is the way Arab American stand-up comedians define their relationship to the Arab and the western worlds in the process of establishing their Arab American identity. Three humor theories - the relief theory, the incongruity theory, and the superiority theory - are deployed in the study to examine the representation of Arabness in selected Arab American performances. The study argues that Arab American comics minstrelize their own diasporic origin through reinscribing a range of orientalizing practices in order to claim their Americanness.

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Experimental Language Deconstructing Patriarchal Discourse in Ntozake Shange’s for colored girls who have considered suicide/ when the rainbow is enuf

Abstract

By sharing the experiences of women and the black community of her time, represented as a journey towards womanhood on stage, Afro- American playwright Ntozake Shange deconstructs the patriarchal structure of language, by pushing the boundaries of genres as she assembles prose, poetry and stage performance in a “choreopoem” capable of empowering and liberating the trajectories of the represented black women. The present study explores the semiotic and linguistic deconstructions of the patriarchal ideology in for colored girls who have considered suicide/ when the rainbow is enuf, aiming at a discussion of the author’s experimentalism with language outside instituted discursive paradigms regarding women. Considering that the concept of the liberation of the individual is strongly historicized in the play, the characters of the seven ladies are focalized as being tightly related to the feminist movement in North America in the seventies. Furthermore, the implications of ideological impositions and limited roles for women in society are analyzed.

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The Remediation of the Epic in Digital Games: The Elder Scrolls V: Skyrim

Abstract

This paper examines whether certain computer games, most notably RPGs, can be thought of as examples of the postmodern epic. Drawing on more recent critical frameworks of the epic, such as the ones proposed by Northrop Frye, Adeline Johns-Putra, Catherine Bates or John Miles Foley, the demonstration disembeds the most significant diachronic features of the epic from its two main media of reproduction, that of text and oral transmission, in order to test their fusion with the virtual environment of digital games. More specifically, I employ the concept of “epic mode” in order to explain the relevance of The Elder Scrolls: Skyrim for the history of the epic typology, which must now be understood as transmedial. I illustrate the manner in which this representative title assimilates the experience and performance of the epic, as well as several meaningful shifts in terms of genre theory, the most notable of which is an intrinsic posthuman quality. The experience of play inherent to Skyrim does not only validate the latter as an authentic digital epic of contemporary culture, but it also enhances the content, role and impact of the typology itself, which is yet far from falling into disuse.1

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The Formation of Race and Disability in Philip Kan Gotanda’s I Dream of Chang and Eng

C. “Disability and the Justification of Inequality in American History.” The Disability Studies Reader . Ed. Lennard J. Davis. 4 th ed. New York: Routledge, 2013. 17-33. Bei, Nichi. “Gotanda’s Newest Play ‘I Dream of Chang and Eng’ Staged at Berkeley.” tdps: Theatre, Dance and Performance Studies . 10 Mar. 2011. Web. 20 Aug. 2017. Bell, Christopher M., ed. Blackness and Disability: Critical Examinations and Cultural Interventions . East Lansing: Michigan State UP, 2012. Bogdan, Robert. Freak Show: Presenting Human Oddities for Amusement and

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There’s a Double Tongue in Cheek: On the Un(Translatability) of Shakespeare’s Bawdy Puns into Romanian

Performance.” Shakespeare in Performance: A Collection of Essays. Ed. Frank Occhiogrosso. Delaware: U of Delaware P, 2003. Catford, John Cunnison. A Linguistic Theory of Translation. Oxford: Oxford UP, 1965. Chiaro, Delia. “Translation and Humour, Humour and Translation.” Translation, Humour and Literature: Translation and Humour. vol. 1. Ed. Delia Chiaro. London: Bloomsbury, 2010. 1-32. Chiaro, Delia. The Language of Jokes: Analyzing Verbal Play. London: Routledge, 1992. “Cornut.” DexOnline.ro. Dicționarul

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Re-Working Shakespeare: Heiner Müller’s Macbeth

Andrew M.McLean. Newark & London: University of Delaware Press, Associated University Press, 1998. 29-57. Print. Guntner, Lawrence. “Rewriting Shakespeare: Bertolt Brecht, Heiner Müller and the Politics of Performance.” Shakespeare and European Politics. Ed. Dirk Delabastita et al. Newark: University of Delaware Press, 2008. 179-195. Print. Harich, Wolfgang. “Der entlaufene Dingo, das vergessene Floss: Aus Anlass der Macbeth-Bearbeitung von Heiner Müller,” Sinn und Form 1 (1973): 189-218. Print. Hegel, G.W. F. The Hegel

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The International Settlement: The Fantasy of International Writing in Kazuo Ishiguro’s When We Were Orphans

. Manchester: Manchester UP, 2000. Lopez, John. “Mark Romanek Talks about Adapting Kazuo Ishiguro’s Never Let Me Go for the Big Screen.” HWD. Vanity Fair 13 Sept. 2010. Web. 20 Oct. 2018. Ma, Sheng-Mei. “Kazuo Ishiguro’s Persistent Dream for Postethnicity: Performance in Whiteface.” Post Identity 2.1 (1999). Robbins, Bruce. “Cruelty Is Bad: Banality and Proximity in Never Let Me Go. ” NOVEL: A Forum on Fiction 40.3 (2007): 289-302. Web. 12 Sept. 2015. Scarry, Elaine. The Body In Pain: The Making and Unmaking of the World. Oxford: Oxford UP

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