TY - CHAP TI - Traversing the Urban Sitcom AU - Hessler, Jennifer T2 - Border Crossings and Mobilities on Screen A2 - Trandafoiu, Ruxandra AB - The popularity of mid-1990s NBC staples like Seinfeld (1989–1998) and Mad About You (1992–1999) helped constitute what Michael V. Tueth S.J. characterizes as a third distinct era for the urban sitcom. This chapter looks at how one feature of urban life – (public) transport – works to establish the themes of urban sociality and serves as a catalyst for the plots’ conflicts and characters’ development in these sitcoms. Drawing on Ole Jensen’s theory of critical mobilities, the chapter proposes a rethink of the role of transport in Seinfeld and Mad About You as more than a mere mechanism to transverse diegetic space, but as a key tool of narration. First, the chapter examines the role that transport plays in constructing the ephemeral human connections that underpin these sitcoms’ characteristic urban sociality. Whether it be the short-lived romances, absurd run-ins, or missed connections that drive much of the conflict of these Must-See TV sitcoms, transport often works as the narrational mechanism that makes it happen. Secondly, it analyzes the role of transport motifs in constructing characterization and mapping character evolution, especially as the male leads of these series work through the disjunctions of their own class anxiety. Ultimately, transport, as a narrational mechanism, plays a key role in creating the characteristic postmodern aesthetic and urban sociality of the 1990s urban sitcoms. PY - 2022/7/27/ DO - 10.4324/9781003127703-15 ET - 1 SP - 138-148 PB - Routledge UR - https://pure.hud.ac.uk/en/publications/6b4cd1f8-ec9a-40a5-91fe-ba005faed4ef N1 - Publisher Copyright: \textcopyright 2022 selection and editorial matter, Ruxandra Trandafoiu; individual chapters, the contributors. RN - Publisher Copyright: \textcopyright 2022 selection and editorial matter, Ruxandra Trandafoiu; individual chapters, the contributors. ER - TY - BOOK TI - Book Review AU - Hessler, Jennifer DA - 2022/10/1/ PY - 2022/10/1/ DO - 10.1080/15295036.2022.2047382 VL - 39 PB - Routledge SE - 349-352 UR - https://pure.hud.ac.uk/en/publications/ce1ea6bc-93c1-4f2d-af2d-fdb8f454cb96 ER - TY - ER - TY - BOOK TI - Reconstructing Recipes: Recovering Losses, Telling Stories AU - Simon, Margaret AU - Munroe, Jennifer AU - Nunn, Hillary AU - Smith, Lisa DA - 2022/// PY - 2022/// VL - 8 ER - TY - ER - TY - CONF TI - Negotiating the page: Digital annotation and graphic literature AU - Allen, Tania AU - Simon, M. T2 - DRS2022: Bilbao AB - The past ten years have seen an increased acceptance and study of the graphic novel as a literary instrument. More and more authors and designers are using the comic book platform and its shorter, serialized structure, to tell stories about race, class, and gender. In tackling these more complex issues, creators are intentionally or unintentionally making environments where readers are engaging in methods of negotiated reading—discovering an affinity with aspects of the characters and stories, and actively creating a discourse with identity and positionality. Digital annotation and reading platforms offer a unique opportunity to teachers, designers, scholars, and readers to actively examine and enhance the ways this negotiated reading is experienced, but most privilege text-based literature over graphic literature, and few actively connect the texts to real-world, contemporary experiences or evidence. This paper describes an approach for augmenting graphic novels through visual and digital annotation. C2 - 2022/6/16/ C3 - Proceedings of DRS CY - Baltimore, Maryland DA - 2022/6/16/ PY - 2022/// DO - 10.21606/drs.2022.259 PB - Design Research Society UR - http://dx.doi.org/10.21606/drs.2022.259 ER - TY - CHAP TI - Matchmaking mathematics: Teaching algorithms and probability with Nandini Bajpai’s A Match Made in Mehendi AU - McConnel, Jen AU - Harbaugh, Allen T2 - Developing Mathematical Literacy through Young Adult Literature A2 - Greathouse, P. A2 - Anthony, H. PY - 2022/// SP - 175-190 PB - Rowman & Littlefield SN - 9781475861532 ER - TY - ER - TY - JOUR TI - Exploring Ungrading in an Elementary Writing Methods Course AU - McConnel, Jen T2 - Teaching/Writing: The Journal of Writing Teacher Education DA - 2022/// PY - 2022/// VL - 11 IS - 2 SP - 9 UR - https://scholarworks.wmich.edu/wte/vol11/iss2/9 N1 - Available at: RN - Available at: ER - TY - CHAP TI - Understanding Failures in Organizational Discourse: The Accident at Three Mile Island and the Shuttle Challenger Disaster AU - Miller, C. T2 - Textual Dynamics of the Professions: Historical and Contemporary Studies of Writing in Professional Communities A2 - Bazerman, Charles A2 - Paradis, James PY - 2022/// PB - The WAC Clearinghouse Landmark Publications in Writing Studies UR - https://wac.colostate.edu/docs/books/textual_dynamics/chapter12.pdf ER - TY - RPRT TI - How Do Genres, Media, and Platforms Shape Our Perception and Our Communication? AU - Miller, C. AU - Fraley, L. AU - Summers, J. DA - 2022/7/11/ PY - 2022/7/11/ M3 - Video UR - https://tccamp.org/episodes/how-do-genres-media-and-platforms-shape-our-perception-and-our-communication/. ER - TY - CHAP TI - Electronic Versioning and Digital Editions AU - Broyles, Paul A. T2 - Intermediate Horizons: Book History and Digital Humanities A2 - Vareschi, Mark A2 - Wacha, Heather PY - 2022/// SP - 147–166 PB - U of Wisconsin P ER - TY - JOUR TI - Impacts of Skeletal Anterior Open Bite Malocclusion on Speech AU - Keyser, Mary Morgan Bitler AU - Lathrop, Hillary AU - Jhingree, Samantha AU - Giduz, Natalie AU - Bocklage, Clare AU - Couldwell, Sandrine AU - Oliver, Steven AU - Moss, Kevin AU - Frazier-Bowers, Sylvia AU - Phillips, Ceib AU - Turvey, Timothy AU - Blakey, George AU - White, Ray AU - Zajac, David AU - Mielke, Jeff AU - Jacox, Laura Anne T2 - FACE AB - Articulation problems are seen in 80-90% of dentofacial deformity (DFD) subjects compared with 5% of the general population, impacting communication and quality of life, but the causal link is unclear. We hypothesize there are both qualitative (perceptual) and quantitative (spectral) differences in properties of stop (/t/ or /k/), fricative (/s/ or /∫/), and affricate (/t∫/) consonant sounds and that severity of anterior open bite (AOB) jaw disharmonies correlates with degree of speech abnormality.To test our hypotheses, surgical orthodontic records and audio recordings were collected from DFD patients (n=39 AOB, 62 controls). A speech pathologist evaluated subjects and recordings were analyzed using spectral moment analysis (SMA) to measure sound frequency distortions.Perceptually, there is a higher prevalence of auditory and visual speech distortions in AOB DFD patients when compared to controls. Quantitatively, a significant (p<0.01) increase in the centroid frequency (M1) was seen in the /k/, /t/, /t∫/, and /s/ sounds of AOB subjects compared to the controls. Using linear regression, correlations between AOB skeletal severity and spectral distortion were found for /k/ and /t/ sounds.A higher prevalence of qualitative distortion and significant quantitative spectral distortions in consonant sounds were seen in AOB patients compared to controls. Additionally, severity of skeletal AOB is correlated with degree of distortion for consonant sounds. These findings provide insight into how the surgical and/or orthodontic treatment of AOB may impact speech. DA - 2022/3/14/ PY - 2022/3/14/ DO - 10.1177/27325016221082229 VL - 3 IS - 2 SP - 339-349 J2 - FACE LA - en OP - SN - 2732-5016 2732-5016 UR - http://dx.doi.org/10.1177/27325016221082229 DB - Crossref ER - TY - JOUR TI - Orthognathic speech pathology: Impacts of Class III malocclusion on speech AU - Lathrop-Marshall, H. AU - Keyser, M.M.B. AU - Jhingree, S. AU - Giduz, N. AU - Bocklage, C. AU - Couldwell, S. AU - Edwards, H. AU - Glesener, T. AU - Moss, K. AU - Frazier-Bowers, S. AU - Phillips, C. AU - Turvey, T. AU - Blakey, G. AU - White, R. AU - Mielke, J. AU - Zajac, D. AU - Jacox, L.A. T2 - European Journal of Orthodontics AB - Summary Introduction Patients with dentofacial disharmonies (DFDs) seek orthodontic care and orthognathic surgery to address issues with mastication, esthetics, and speech. Speech distortions are seen 18 times more frequently in Class III DFD patients than the general population, with unclear causality. We hypothesize there are significant differences in spectral properties of stop (/t/ or /k/), fricative (/s/ or /ʃ/), and affricate (/tʃ/) consonants and that severity of Class III disharmony correlates with the degree of speech abnormality. Methods To understand how jaw disharmonies influence speech, orthodontic records and audio recordings were collected from Class III surgical candidates and reference subjects (n = 102 Class III, 62 controls). A speech pathologist evaluated subjects and recordings were quantitatively analysed by Spectral Moment Analysis for frequency distortions. Results A majority of Class III subjects exhibit speech distortions. A significant increase in the centroid frequency (M1) and spectral spread (M2) was seen in several consonants of Class III subjects compared to controls. Using regression analysis, correlations between Class III skeletal severity (assessed by cephalometric measures) and spectral distortion were found for /t/ and /k/ phones. Conclusions Class III DFD patients have a higher prevalence of articulation errors and significant spectral distortions in consonants relative to controls. This is the first demonstration that severity of malocclusion is quantitatively correlated with the degree of speech distortion for consonants, suggesting causation. These findings offer insight into the complex relationship between craniofacial structures and speech distortions. DA - 2022/// PY - 2022/// DO - 10.1093/ejo/cjab067 VL - 44 IS - 3 SP - 340-351 UR - http://www.scopus.com/inward/record.url?eid=2-s2.0-85130863076&partnerID=MN8TOARS ER - TY - JOUR TI - Entertaining the Idea: Shakespeare, Performance, and Philosophy AU - Crosbie, Christopher T2 - RENAISSANCE QUARTERLY AB - Entertaining the Idea: Shakespeare, Performance, and Philosophy. Lowell Gallagher, James Kearney, and Julia Reinhard Lupton, eds. UCLA Clark Memorial Library Series. Toronto: University of Toronto Press, 2021. x + 240 pp. $65. - Volume 75 Issue 4 DA - 2022/// PY - 2022/// DO - 10.1017/rqx.2022.418 VL - 75 IS - 4 SP - 1437-1439 SN - 1935-0236 ER - TY - SOUND TI - F. Scott Fitzgerald and the Jazz Age Magazine DA - 2022/9/22/ PY - 2022/9/22/ UR - https://thefriends.org/event/fitzgerald-in-saint-paul-mcdermott-lecture-f-scott-fitzgerald-and-the-jazz-age-magazine/ ER - TY - JOUR TI - Gauging Film History: An Exquisite Corpse AU - Gordon, M. AU - Archer, Ina AU - Everett, Dino AU - Johnson, Martin Louis T2 - Framework: The Journal of Cinema and Media DA - 2022/// PY - 2022/// VL - 63 IS - 1 SP - 126–130 ER - TY - CHAP TI - Madge Tyrone AU - Gordon, M. T2 - Women Film Pioneers Project A2 - Gaines, Jane A2 - Vatsal, Radha A2 - Dall’Asta, Monica PY - 2022/9// PB - Columbia University Libraries ER - TY - JOUR TI - Reflections on the Decision to Teach Darnella Frazier’s Cellphone Video of the Murder of George Floyd, and on Changing My Mind AU - Gordon, M. T2 - Journal of Cinema and Media Studies (JCMS) DA - 2022/// PY - 2022/// M3 - Teaching Dossier UR - https://quod.lib.umich.edu/cgi/t/text/idx/j/jcms/18261332.0061.902/--reflections-on-the-decision-to-teach-darnella-fraziers?rgn=main;view=fulltext ER - TY - MGZN TI - Making Concessions: A Tale of Capitalism, Control, and Snacks AU - Gordon, M. T2 - Pipewrench DA - 2022/// PY - 2022/// M1 - 5 UR - https://pipewrenchmag.com/making-concessions-movies-and-popcorn/ ER - TY - JOUR TI - AI-Based Text Generation and the Social Construction of "Fraudulent Authorship": A Revisitation AU - Anson, Chris M. T2 - Composition Studies DA - 2022/// PY - 2022/// VL - 50 IS - 1 SP - 37–46, 179 ER - TY - CHAP TI - The Writing-Enriched Curriculum: Transnational Prospects and Challenges AU - Anson, Chris M. AU - Hodges, Amy AU - Rudd, Mysti T2 - Teaching and Studying Transnational Composition A2 - Donahue, Christiane A2 - Horner, Bruce PY - 2022/// SP - 263–286 PB - Modern Language Association SN - 9781603296007 9781603295994 ER - TY - CHAP TI - A Heuristic Approach to Selecting Technological Tools for Writing Instruction and Support AU - Anson, Chris M. T2 - Negotiating the Intersections of Writing and Writing Instruction PY - 2022/1/18/ DO - 10.37514/int-b.2022.1466.2.03 SP - 63-87 PB - The WAC Clearinghouse; University Press of Colorado UR - http://dx.doi.org/10.37514/int-b.2022.1466.2.03 ER - TY - JOUR TI - Amazement and Trepidation: Implications of AI-Based Natural Language Production for the Teaching of Writing AU - Anson, Chris AU - Straume, Ingerid T2 - Journal of Academic Writing AB - AI-based natural language production systems are currently able to produce unique text with minimal human intervention. Because such systems are improving at a very fast pace, teachers who expect students to produce their own writing—engaging in the complex processes of generating and organizing ideas, researching topics, drafting coherent prose, and using feedback to make principled revisions that both improve the quality of the text and help them to develop as writers—will confront the prospect that students can use the systems to produce human-looking text without engaging in these processes. In this article, we first describe the nature and capabilities of AI-based natural language production systems such as GPT-3, then offer some suggestions for how instructors might meet the challenges of the increasing improvement of the systems and their availability to students. DA - 2022/12/23/ PY - 2022/12/23/ DO - 10.18552/joaw.v12i1.820 VL - 12 IS - 1 SP - 1-9 J2 - JoAW OP - SN - 2225-8973 UR - http://dx.doi.org/10.18552/joaw.v12i1.820 DB - Crossref ER - TY - JOUR TI - The Stories We Tell: Contemporary Film and Media: Plots in the Coronavirus Age AU - Gordon, Marsha AB - What will COVID-inspired movies be like? Will they focus on our time spent in isolation? On imagining what it will be like to get “back to normal”? On scientists collaborating around the globe as they try to create a vaccine? On protestors who insist on getting haircuts or entering a restaurant without a mask on before it is safe to do so? On politicians either scapegoating or taking responsibility for what happens to the citizens who inhabit the nations they lead? On frontline ER doctors or ambulance drivers risking their lives to treat critically ill people? It’s too early to know exactly how fictional movies will tell the story of this pandemic, but there have already been attempts to both document and propagandize the virus. This session will conclude with a brief discussion of Plandemic, a short conspiracy theory video that had over 8 million views just over a week after it was pushed out over YouTube, Facebook, and Vimeo on May 4. Critical thinking and viewing skills have always been important, and disinformation has always been risky, but in our present times it is incumbent on all of us to be smart about how we consume information and understand what we are being told and by whom, as will certainly be the case in the film and media we continue to encounter about this virus and its impacts. DA - 2022/6/22/ PY - 2022/6/22/ DO - 10.52750/503800 UR - https://doi.org/10.52750/503800 ER - TY - JOUR TI - You Can’t Say They Didn’t Try: Environmentally Conscious Documentaries — Part 2 AU - Gordon, Marsha AB - n this video (Part 2 of 2) Marsha Gordon, Ph.D. explores the way documentary films targeted at young people — one each from the 1940s, 1950s, and 1970s — have for decades tried to help us to comprehend what failure to prevent catastrophic climate change might mean for us.  DA - 2022/1/15/ PY - 2022/1/15/ DO - 10.52750/894475 VL - 1 UR - https://doi.org/10.52750/894475 ER - TY - JOUR TI - The Stories We Tell: Infectious Disease and Film History AU - Gordon, Marsha AB - It’s too soon for the first COVID feature film to come out, especially since motion picture production has been almost entirely frozen at this point in time, but the documentaries and “documentaries” have already begun to trickle out. First we’ll talk about a pair of tuberculosis films, one from 1912 and the other from 1914. Tuberculosis may seem like a disease of the past (thanks to a highly successful global campaign to eradicate it), but it is especially relevant to COVID-times in terms of the way it is spread. One of the films I want to talk about was made for entertainment. Falling Leaves, directed by one of the pioneers of early cinema, Alice Guy Blaché, is a melodrama, featuring an adorable little girl who wants to save her ailing sister from TB and in the process ends up finding her both a doctor and, as it turns out, a likely future husband. The other film, The Temple of Moloch, was made by the Edison Manufacturing Company in collaboration with the National Association for the Study and Prevention of Tuberculosis in an effort aligned with the agency’s annual Christmas Seal fundraising campaign. Germ theory was a relatively new way of understanding disease in 1914, and this film uses this idea to tell a story about disease’s ability to impact both the poor and the rich. Both of these films rely on disease for their stories, but one deals with it purely for the sake of drama and the other primarily with the aim of educating and improving the health of the viewing public DA - 2022/6/22/ PY - 2022/6/22/ DO - 10.52750/480504 UR - https://doi.org/10.52750/480504 ER - TY - JOUR TI - You Can’t Say They Didn’t Try: Environmentally Conscious Documentaries — Part 1 AU - Gordon, Marsha AB - In this video (Part 1 of 2) Marsha Gordon, Ph.D. explores the way documentary films targeted at young people — one each from the 1940s, 1950s, and 1970s — have for decades tried to help us to comprehend what failure to prevent catastrophic climate change might mean for us.  DA - 2022/1/15/ PY - 2022/1/15/ DO - 10.52750/158950 VL - 1 UR - https://doi.org/10.52750/158950 ER - TY - JOUR TI - Exploring the Nuances AU - Burgess, Helen J AU - Alves, Tony T2 - Commonplace DA - 2022/11/15/ PY - 2022/11/15/ DO - 10.21428/6ffd8432.c6ed87b2 VL - 11 UR - http://dx.doi.org/10.21428/6ffd8432.c6ed87b2 ER - TY - CHAP TI - Chapter 13. The Sound of Type: Multimodal Aesthetics AU - Burgess, Helen J. AU - Harrington, Travis T2 - Amplifying Soundwriting Pedagogies: Integrating Sound into Rhetoric and Writing PY - 2022/11/22/ DO - 10.37514/pra-b.2022.1688.2.13 SP - 173-182 PB - The WAC Clearinghouse\mathsemicolon University Press of Colorado UR - http://dx.doi.org/10.37514/pra-b.2022.1688.2.13 ER - TY - TI - The Digital Dickens Notes Project AU - Gibson, Anna DA - 2022/12// PY - 2022/12// UR - https://www.dickensnotes.com/ ER - TY - JOUR TI - The Digital Dickens Notes Project AU - Gibson, Anna AU - Grener, Adam AU - Goodenough, Frankie AU - Bailey, Scott T2 - Victorians Institute Journal AB - The Digital Dickens Notes Project (DDNP) is a digital initiative that seeks to transcribe, interpret, and explore the significance of the working notes Charles Dickens kept for most of his novels.1 Our online platform (dickensnotes.com) presents color transcriptions that display Dickens’s use of space, ink colors, and nontextual markings to capture his intricate use of these pages over the course of the many weeks or months he planned, composed, and published his novels serially. Pairing these transcriptions with comprehensive editorial annotations and critical introductions, the DDNP aims to shed new light on the temporal dynamics of these working notes as fascinating records of serial composition, and in the process to open new avenues and methodologies for analyzing Dickens’s works.Scholars have long noticed and made critical use of these notes. The note for the first installment of David Copperfield (1849–50) is presented in John Forster’s 1872 biography of Dickens, and the working notes are a key pillar of John Butt and Kathleen Tillotson’s study Dickens at Work (1957). However, their significance has been underappreciated, we believe, due to the difficulty in capturing their complex and dynamic relationship to Dickens’s compositional practices. While the materiality of the working notes brings this relationship into view more clearly, it has been accessible only in an archival setting. Harry Stone’s 1987 scholarly edition of the working notes provided complete text transcriptions alongside black-and-white facsimiles, and these transcriptions have subsequently been reproduced as appendices in popular trade editions of the novels. But, as Nicola Bradbury acknowledges as editor of the Penguin Bleak House, such black-and-white linear transcriptions have significant limitations: “No attempt has been made here to indicate the physical appearance of the notes with precision: only a photographic reproduction could do that.”2 The DDNP’s images of the working notes aim to make some of their material facets accessible: our images are not photographs; instead, they provide legible transcriptions of Dickens’s notes while also reproducing their color, size, and placement on the page (see figure 1). More importantly, annotations interpret these notes with reference to the manuscript, corrected proofs, and final text of their respective novels to show their important role in Dickens’s compositional practice. Dickens did not use these working notes simply to plan a given serial installment; he usually returned to the pages multiple times before, during, and after the writing of a number. He used them, among other things, to conceive, consider, question, decide, document, prompt, and remember. The DDNP aims to leverage the multidimensionality of a digital environment to make these processes accessible to readers and in turn to provide new ways of exploring the temporal dynamics of serial form.These working notes provide unique insight into both the serial composition of individual novels and the ways Dickens’s navigation of serial form developed through his career. Beginning with Dombey and Son (1846–48), Dickens kept complete sets of working notes for his novels published in monthly installments, as well as for Hard Times (1854), which was published in weekly installments in Household Words.3 In most cases, he would divide in half a single seven- by nine-inch sheet of paper (the pages clearly folded and creased) for each serial installment. On the right side of the page he indicated the installment number and chapter numbers, filled in the chapter titles, and jotted down chief events and characters, occasional quotations, and memorable details, testing out names and phrases here and there. On the left side he added “generative” notes and memoranda, including long-term plans and motifs. Here he typically poses questions about character combinations or plot details, tests out new ideas, and returns (often in a different ink) to answer his questions, frequently changing his mind. In some cases he returns to offer summaries of work already completed; in others, he records his overwriting or underwriting of chapters and moves them around. From the evidence that survives from the unfinished The Mystery of Edwin Drood (1870)—titled but blank pages for installments never completed due to Dickens’s death—we can see that, late in his career, Dickens adopted the practice of creating a blank working note for each serial installment at the very outset of the novel’s composition.While the textual content of the working notes can be easily represented, the DDNP aims to capture and communicate spatial and temporal properties of the notes that are currently legible only in an archival setting. Dickens’s working notes are bound with his manuscripts, most of which are held at the Victoria and Albert Museum’s National Art Library in London.4 If Dickens’s preservation of these notes is one indication of their significance for the novelist himself, scholarly efforts to understand and interpret that significance are hindered by the simple but frustrating limitations of accessing their material richness. For example, when readers encounter the working notes as text transcriptions in a paperback’s appendix, the constraints of the small printed page obscure and distort the notes’ use of space, size, angles, colors, emphasis, and nontextual markings. Stone’s scholarly edition captures considerably more by placing transcriptions alongside black-and-white facsimile images, but can indicate differences in color only through elaborate descriptions in an introduction to each set of transcriptions. Coupled with the volume’s unwieldy size (and the fact that it is out of print), these contrivances highlight the limitations of the print format in which Stone’s edition was produced thirty-five years ago. And while the V&A’s planned digitization of Dickens’s manuscripts means that color images of the working notes will soon be more readily accessible, his handwriting is notoriously difficult to read (as the V&A’s own Deciphering Dickens project seeks to address). The DDNP’s transcriptions of the working notes therefore aim to overcome these different limitations by replicating both the placement of text as well as nontextual markings (lines, blots, erasures, underlinings, check marks). Our online platform provides easy and open access to these transcriptions, thus facilitating renewed scholarly engagement with these vital records of serial composition.5Perhaps because of Dickens’s methodological use of these pages, the notes have primarily been viewed as planning documents, described as “number plans,”6 “blueprint[s],”7 “worksheet[s],”8 and “reminders.”9 Although Stone and others acknowledge the complex temporality of the notes—the insight they provide into “Dickens in the act of creation”10—they are often framed as “clue[s] . . . to authorial intention,”11 evidence of “systematic planning,”12 or “ingredients for a particular number.”13 This inclination to interpret the notes as products of preparation, design, and planning also arises from—and subsequently reinforces—the predominant view of the trajectory of Dickens’s career, whereby the “open and improvisational”14 nature of Dickens’s earliest works develops into a commitment to coherence and a formal unity that transcends the monthly installment.15 This is the story Dickens himself told about his craft, which he first articulated in the preface to Martin Chuzzlewit (written at the conclusion of the novel’s serial run): “I have endeavoured in the progress of this Tale, to resist the temptation of the current Monthly Number, and to keep a steadier eye upon the general purpose and design.”16 Given that Dickens begins to keep complete sets of working notes with his next novel, Dombey and Son, their very existence can be taken as evidence of Dickens’s growing concern for and commitment to the larger design of his novels.This predominant view of the working notes as plans or blueprints for coherent design has been reinforced by how their content has been physically seen to this point. When viewed simply as a text transcription or black-and-white facsimile, the content of the notes can understandably appear to be “ingredients” for a given number that Dickens first conceived and then incorporated into the installment. But the materiality of the notes themselves reveals far more complex temporal dynamics: a static “plan” is shown to in fact comprise multiple, temporally distinct moments in Dickens’s use of the notes before, during, and after composition. This is most evident on notes where some memoranda appear in blue ink and others in black or brown ink (a shift that can often be linked to a change in the ink used in the manuscript itself), or on notes where Dickens poses questions to himself and the replies clearly appear in a different hand or nib, indicating a return to the note at some later point. These explicit and obvious examples help us to see how almost every page of notes—even where the physical appearance might seem rather uniform—is the product of Dickens returning multiple times in the process of conceiving, composing, and editing a given number. Analysis of the manuscripts and proofs in their archival settings offers further evidence of the complex temporality of these notes, and confirms that Dickens frequently returns to notes after the completion of an installment. For example, the majority of the chapter titles of Bleak House were conceived and added at proof stage, as Dickens adds a title (sometimes with deletions or changes) in ink to the typeset installment, and then returns to the manuscript and working notes to retroactively document this decision. There are also instances where we can see an extended decision-making process in the manuscript—Dickens writing, reworking, and revising a particular name or phrase—that then results in that name or phrase being recorded, later, in the notes.Since these pages were intended and kept “for no one’s eyes but Dickens’,” the insight they provide into his creative process is at times constrained by their (il)legibility.17 While most everything in the notes can be confidently transcribed, there are certain deletions, erasures, and nontextual markings that obscure words and characters.Our transcriptions agree in almost all points with Stone’s, but there are times where we do not validate his more speculative interpretations. In such cases, our transcriptions render the deletions as they appear on the manuscript page, as nontextual markings. Our color transcriptions register obvious changes in ink (e.g., from black to blue), while other discernible changes in ink are noted in annotations. While some differences in ink weight might lead us to identify distinct temporal layers—Dickens’s engagement with the notes at different times—some may be due to changes in nib or quill; redipping the ink; variation in pressure, speed, or angle of writing; or subsequent oxidation of the pages.18 Such ambiguities may limit our identification of precise temporal relationships between notes and manuscript, but they also generate intriguing textual complications that illuminate the processual nature of both the notes and Dickens’s serial novel form.Even if it were possible to pin down precisely the relationship between the working notes and Dickens’s published installments, our project is motivated by the belief that the value of the notes is not in their ability to provide a definitive interpretation of the text. Rather, the DDNP’s annotations and editorial apparatus highlight the temporal dynamics of seriality. Our color transcriptions are at the project’s center, but the user experience encourages a rich, exploratory engagement with these texts. Critical introductions to the notes, Dickens’s serial form, and the project draw attention to serial form in process. Each set of working notes—beginning with David Copperfield and Bleak House—is presented alongside a critical introduction, which explains the significant features of that novel’s notes in the context of its many other documents of serial publication (manuscript, letters, edited proofs, published installments) and alongside working notes for other novels. The transcriptions are served as zoomable IIIF images in Mirador,19 an intuitive platform that allows users to explore parts of each page in varying degrees of detail. Clicking on selected elements of each working notes page (words, phrases, markings, etc.) pulls up editorial annotations in a sidebar: these annotations highlight connections between notes and novel; draw out temporal layers made evident by side-by-side comparison of notes, manuscript, and edited proofs; offer insight into Dickens’s writing process drawn from scholarly and biographical sources; and provide editorial commentary about authorial practice and other interpretive insights (see figure 2). Users can search within and across the working notes and the editorial annotations for key terms. This digital project facilitates an interactive exploration of the notes that mirrors their creation and use by Dickens himself. Just as Dickens engaged with these pages in a nonlinear, creative process over time, scholars and students can use the DDNP to dip in and out of, across and between, the notes, annotations, and novel text. Moving beyond the constraints of a printed page allows the DDNP to facilitate a multidimensional and dynamic exploration of these rich texts.The attention to serial temporality afforded by the DDNP’s transcriptions and annotations of Dickens’s notes can open new frameworks for interpreting Dickens’s approach to novel form. As already noted, much scholarship on Dickens’s serial composition emphasizes what Butt and Tillotson describe as his careful management of his novels. Thus, the notes are frequently read for their insights into what Robert Patten and Daniel Siegel both call the “architecture” of Dickens’s serial installments, their spatial or cartographic form.20 We believe that our attempts to render the complexity of Dickens’s use of his working notes offers a different perspective on the dynamics of composition. It is not simply that the “improvisational” nature of Dickens’s early novels is gradually replaced and superseded by a commitment to coherence as his career progressed. Rather, the tumultuous dynamics of the working notes themselves—for example, Dickens’s occasionally fraught questioning and decision making within the planning and production of a single installment—should prompt renewed analysis of the ongoing tensions between the pressures of an impending installment and the larger design of a given novel that emerges, month by month, chapter by chapter, manuscript page by manuscript page.The working notes for David Copperfield’s seventh number (chapters 19–21) gives an example of Dickens’s extemporaneous decision-making process within the production of a single serial installment. On the left-hand side he jotted down potential subjects in blue ink before returning later to respond to those ideas in black. Close inspection of the shades of ink used, and comparison with the writing on the manuscript, provides strong evidence to date the first layer to a point prior to Dickens’s beginning to draft chapter 19, and the second layer to a point during the composition of chapters 19 and 20, but prior to the drafting of chapter 21. The initial layer gives “Steerforth,” “Little Em’ly,” and “the two partners” as possible elements for inclusion, among others, but although these potential subjects are all listed as queries, Dickens only responded “yes” to Steerforth at this time. It was only in making a second pass over the notes partway through composing the number that he resolved the other possibilities, confirming Emily’s role and rejecting the as-yet-unnamed Spenlow and Jorkins. If Dickens was initially sure of Steerforth’s reintroduction but unsure about the inclusion of Emily and the proctors, he embarked upon the installment undecided whether its main action would be the meeting of Emily and Steerforth or David’s entry into professional life. The deferral of the latter makes sense in relation to the rhythms of the serial narrative: its omission allows for a focused advancement of the Yarmouth subplot so carefully prepared for in numbers II–III, an advancement becoming more and more necessary as the novel approached its climactic midpoint. Dickens also made the most of the opportunity provided by the reillustration of Steerforth’s characteristic carelessness: the picture of Steerforth’s fraught domestic relations in chapter 20 plays effectively against his entry into Emily’s own domestic sphere in chapter 21, and forebodingly against his disapproval of the “chuckle-headed” Ham as a match for the “engaging little Beauty.”21 While Forster refers to the Copperfield working notes to highlight “the lightness and confidence of [Dickens’s] handling” of the novel’s material, the DDNP’s approach to the working notes draws attention to Dickens’s inconsistent compositional practices and his tendency to begin drafting a number while still deliberating between several possible subjects.22The uncertain rhythms of Dickens’s creative process are even more obvious when comparing an example like the one above to the significantly more rigorous and proactive approach evident in the working notes for Copperfield’s later installments. Dickens was more preoccupied with pacing as he drew to the end of the novel’s serial run, clearly demonstrated by a number of notes he apparently wrote at the same time, in the same ink, across the left-hand pages of the working notes for numbers XVI–XX.23 These memoranda appear to have been written in late May 1850, shortly after the composition of number XV and around the time Dickens prepared the next section of the manuscript. In this layer of memoranda across several notes, Dickens anticipated and sketched out the major events still to come that he had to work into the final four installments, including Emily’s discovery, the storm at Yarmouth, the immigration scene, and David’s union with Agnes. As he progressed through writing the final section of the novel he added to, responded to, and amended these memoranda, resulting in several distinctly layered note pages. He also systematically reviewed the notes at the beginning of each new number, jotting down things “from [the] last No.” that had yet to be resolved. As these examples demonstrate, the DDNP’s attentiveness to the temporal complexities of Dickens’s working notes offers insight not only into the painstaking architecture of Dickens’s serial form in process, but also into its ongoing openness and dynamism. Given the inconsistency of Dickens’s practice with the working notes across a single novel, their function was clearly not purely as blueprints, plans, or even summaries. The notes provide a sense of the novel in process, acting as a crucial container for the imaginative and creative work Dickens performed in each serial installment.The DDNP’s capacity to allow users to explore compositional practice in this way can contribute to scholarly conversations about seriality, building on insights about serial temporality offered by Linda K. Hughes and Michael Lund, Jonathan Grossman, and Clare Pettitt. Dickens’s working notes ask us to attend not just to the mechanics of rhythm, pattern, progression, and forward-moving trajectory, but also to the openness and irresolution of serial form. Our hope for this project is to make available to readers a platform that can facilitate scholarly and pedagogical attention to Dickens’s writing process and encourage a reading of serial novel form that privileges the temporal and processual features of composition. Beginning in its first version with the notes to David Copperfield and Bleak House, the project will expand to include the remaining six surviving sets of working notes. Additional planned features include more comprehensive hyperlinking and search functions made possible by emerging developments in IIIF annotation. As the project progresses, the site will offer users the ability to make their own annotations for a set of working notes, a tool that will facilitate classroom projects centered around these texts. Even before such an interactive tool is available, however, the DDNP makes possible new ways of teaching students about Victorian serial form, whether as classroom illustrations of Dickens’s writing process or as springboards for student projects. For example, individual students or groups can take on one installment of a novel, reading it alongside that monthly number to examine the formal features of a single serial part, and then collaborating to read across and between installments. Both now and through future developments, the DDNP aims to provide a technological platform that can generate and support scholarly engagement with Dickens’s creative process and the temporalities of serial form. DA - 2022/11/1/ PY - 2022/11/1/ DO - 10.5325/victinstj.49.2022.0210 VL - 49 SP - 210-223 UR - http://dx.doi.org/10.5325/victinstj.49.2022.0210 ER - TY - JOUR TI - African American English speaking 2nd graders, verbal-s, and educational achievement: Event related potential and math study findings AU - Terry, J. Michael AU - Thomas, Erik R. AU - Jackson, Sandra C. AU - Hirotani, Masako T2 - PLOS ONE AB - A number of influential linguistic analyses hold that African American English (AAE) has no verbal– s , the– s that, for example, turns drink into drinks in more mainstream English varieties.On such accounts, sentences like Mary drinks coffee are ungrammatical in AAE. Previous behavioral studies suggest that in addition to being ungrammatical, AAE speaking children find these sentences cognitively demanding, and that their presence in mathematical reasoning tests can depress scores. Until now, however, no online sentence processing study nor investigation of neurophysiological markers has been done to support these findings. Aimed at addressing this gap in the literature, the auditory ERP experiment described herein revealed two different processes associated with AAE speaking 2nd graders listening to this type of sentence: a morphosyntactic structure building problem, reflected in a bilateral early anterior-central negativity; and an increase in working memory load, indicated by a bilateral late long-lasting anterior-central negativity. Study participants also took an orally administered test of math word problems. Consistent with previous findings, results showed they answered fewer questions correctly when those questions contained verbal– s than when they did not. DA - 2022/10/20/ PY - 2022/10/20/ DO - 10.1371/journal.pone.0273926 VL - 17 IS - 10 SP - SN - 1932-6203 ER - TY - JOUR TI - Sex, Society, and the Making of Pornography: The Pornographic Object of Knowledge AU - Stadler, John Paul T2 - JOURNAL OF THE HISTORY OF SEXUALITY DA - 2022/9// PY - 2022/9// DO - 10.7560/JHS31305 VL - 31 IS - 3 SP - 394-396 SN - 1535-3605 ER - TY - JOUR TI - Infrastructural support of users' mediated potential AU - Ranade, Nupoor AU - Swarts, Jason T2 - Communication Design Quarterly AB - As one kind of designed communication, technical communication is created for readers we assume use the content for some situated purpose. Understanding users and their situations to be varied, communicators rely on simplified models of both to create usable content. In many cases, this approach works, but in some commercial sectors, companies are recognizing a need to engage with users directly and to include them in the production of communication. Including users in the production of communication may ease the burden of communicating in ways that are sufficiently detailed, accurate, inclusive, localized, and timely, but these ventures also create challenges of collaboration that direct attention to how users are situated in infrastructures that allow them to act as effective readers and collaborators. This article presents a model of users, situating them amid infrastructures that extend their ability to take rhetorical action. The authors explain and demonstrate a heuristic for analyzing infrastructure as an extension of a user's "mediated potential" for rhetorical action. DA - 2022/7// PY - 2022/7// DO - 10.1145/3507857.3507859 VL - 10 IS - 2 SP - 10-21 J2 - Commun. Des. Q. Rev LA - en OP - SN - 2166-1642 UR - http://dx.doi.org/10.1145/3507857.3507859 DB - Crossref ER - TY - JOUR TI - Multilingualism as an Object of Sociolinguistic Description AU - Bhatt, Rakesh AU - Bolonyai, Agnes T2 - LANGUAGES AB - In the earlier study “Code-Switching and the Optimal Grammar of Bilingual Language Use” in 2011, we present a unified account of language use in multilingual communities using the key insight of OPTIMIZATION to capture variations between multilingual communities. This paper explores the extensions and implications of our optimality-theoretic model of multilingual grammars. We provide evidence indicating that the vast array of empirical facts of bilingual language use (code-switching) are constrained by the operation of five universal socio-cognitive constraints of multilingual grammars, and that community grammars differ from each other in terms of how they prioritize these five constraints. We provide evidence to show that the model we propose (i) accounts for bi-dialectal community grammars, as well as grammars of indigenous and transplanted multilingual communities; (ii) replicates reverse patterns of socio-grammatical differences observed earlier between indigenous and transplanted communities in terms of the relative ranking of two constraints (POWER and SOLIDARITY), linked with different indexical potentials for accruing “a profit of distinction”; and (iii) presents empirical evidence of a complete dominance hierarchy of constraint rankings, satisfying, ultimately, the desideratum of an optimality-inspired framework of assumptions, i.e., constraints are universal; constraints are in (potential) conflict with each other; constraints are violable; and the sociolinguistic grammar of bilingual language consists of the interactions between, and optimal satisfaction of, the constraints. DA - 2022/12// PY - 2022/12// DO - 10.3390/languages7040277 VL - 7 IS - 4 SP - SN - 2226-471X KW - code-switching KW - optimality theory KW - multilingual grammar KW - variation ER - TY - JOUR TI - LAJOS KOSSUTH AND THETRANSNATIONAL NEWS: ACOMPUTATIONAL AND MULTILINGUALAPPROACH TO DIGITIZED NEWSPAPERCOLLECTIONS AU - Keck, Jana AU - Oiva, Mila AU - Fyfe, Paul T2 - MEDIA HISTORY AB - The scale of newspaper digitization and emergence of computational research methods has opened new opportunities for scholarship on the history of the press–as well as a new set of problems. Those problems compound for research that spans national as well as linguistic contexts. This article offers a novel methodological approach for confronting these challenges by synthesizing computational with conventional methods and working across a collaborative multilingual team. We present a case study studying the transnational and multilingual news event of Hungarian revolutionary Lajos Kossuth’s journey to the United States in 1851–52. Our approach helps to demonstrate some of the characteristic patterns and complexities in transatlantic news circulation, including the pathways, reach, temporality, vagaries, and silences of this system. These patterns, in turn, offer some insights into how we understand the significance of this era for histories of the press. DA - 2022/11/17/ PY - 2022/11/17/ DO - 10.1080/13688804.2022.2146905 VL - 11 SP - SN - 1469-9729 KW - Newspaper history KW - digitized newspapers KW - international circulation of news KW - computational research KW - Lajos Kossuth KW - reprints ER - TY - JOUR TI - The Relationship between Non-Native Perception and Phonological Patterning of Implosive Consonants AU - Oakley, Madeleine AU - Sande, Hannah T2 - LANGUAGE AND SPEECH AB - This study uses non-native perception data to examine the relationship between perceived phonetic similarity of segments and their phonological patterning. Segments that are phonetically similar to one another are anticipated to pattern together phonologically, and segments that share articulatory or acoustic properties are also expected to be perceived as similar. What is not yet clear is whether segments that pattern together phonologically are perceived as similar. This study addresses this question by examining how L1 English listeners and L1 Guébie listeners perceive non-native implosive consonants compared with plosives and sonorants. English does not have contrastive implosives, whereas Guébie has a bilabial implosive. The bilabial implosive phonologically patterns with sonorants in Guébie, to the exclusion of obstruents. Two perception experiments show English listeners make more perceptual categorization errors between implosives and voiced plosives than Guébie listeners do, but both listener groups are more likely to classify implosives as similar to voiced plosives than sonorants. The results also show that Guébie listeners are better at categorizing non-native implosive consonants (i.e., alveolar implosives) than English listeners, showing that listeners are able to extend features or gestures from their L1 to non-native implosive consonants. The results of these experiments suggest a cross-linguistic perceptual similarity hierarchy of implosives compared with other segments that are not affected by L1 phonological patterning. DA - 2022/11/28/ PY - 2022/11/28/ DO - 10.1177/00238309221132495 SP - SN - 1756-6053 KW - Speech perception KW - implosives KW - phonology KW - phonetics KW - typology ER - TY - JOUR TI - “'Strange Serious Wantoning:' Early Modern Chess Manuals and the Ethics of Virtuous Subterfuge" AU - Crosbie, Christopher T2 - Renaissance Papers DA - 2022/// PY - 2022/// UR - https://www.academia.edu/88245444/_Strange_Serious_Wantoning_Early_Modern_Chess_Manuals_and_the_Ethics_of_Virtuous_Subterfuge_Christopher_Crosbie_ ER - TY - JOUR TI - Impacts of anterior-posterior jaw disproportions on speech of dentofacial disharmony patients AU - Oliver, Steven AU - Keyser, Mary Morgan Bitler AU - Jhingree, Samantha AU - Bocklage, Clare AU - Lathrop, Hillary AU - Giduz, Natalie AU - Moss, Kevin AU - Blakey, George AU - White, Raymond AU - Turvey, Timothy AU - Mielke, Jeff AU - Zajac, David AU - Jacox, Laura Anne T2 - EUROPEAN JOURNAL OF ORTHODONTICS AB - Summary Background/Objectives Articulation problems impact communication, development, and quality of life, and are diagnosed in 73–87% of patients with Class II Dentofacial Disharmony (DFD). We evaluated whether differences exist in stop (/t/ or/k/), fricative (/s/ or/ʃ/), and affricate (/tʃ/) consonant sounds of Class II DFD subjects, and whether extent of malocclusion correlates with severity of speech distortion. We hypothesized that Class II patients display milder distortions than Class III and anterior open bite (AOB), as Class II patients can posture into a Class I occlusion. Materials/Methods Audio and orthodontic records were collected from DFD patients (N = 53-Class II, 102-Class III, 72-Controls) who were pursuing orthodontics and orthognathic surgery. A speech pathologist perceptually scored speech. Acoustic differences in recordings were measured using Spectral Moment Analysis. Results When Class II subjects were compared to controls, significant differences were found for the centroid frequency (M1) of the /s/ sound and the spectral spread (M2) of /t/, /tʃ/, and /s/ sounds, with pairwise significance for controls relative to Class II AOB and all Class II subjects. Class II AOB subjects had higher M1 and M2 values than patients with Class II closed bites and Class I controls for most sounds. When comparing across anterior-posterior (AP) groups, differences exist between controls, Class II and III DFD subjects for M1 of /t/, /tʃ/, and/ʃ/ and M2 for /t/, /tʃ/, /s/, and /ʃ/ sounds. Using linear regression, correlations between Class II and III severity and spectral measures were found for /t/ and /tʃ/ sounds. Conclusions/Implications Class II and III patients have a higher prevalence of qualitative distortions and spectral changes in consonants compared to controls, but Class II spectral shifts are smaller and affect fewer sounds than in Class III and AOB cohorts. Linear correlations between AP discrepancy and spectral change suggest causation and that treatment may improve articulation problems. DA - 2022/10/29/ PY - 2022/10/29/ DO - 10.1093/ejo/cjac057 VL - 45 IS - 1 SP - SN - 1460-2210 ER - TY - JOUR TI - Uses of Metadiscourse in Online Help AU - Swarts, Jason T2 - WRITTEN COMMUNICATION AB - Metadiscourse guides how readers interact with a text and process the information they find. Because texts differ in purpose and audience, so do patterns of metadiscourse use. This research examines the patterns of metadiscourse use in topic-based writing, developed following a structured authoring method. The resulting writing is modular, nonhierarchical, and nonlinear, which creates user experience issues related to attention as well as information selection, ordering, processing, and navigation. The patterns of language use in topic-based writing reveal how metadiscourse might help readers address these reader experience issues. DA - 2022/8/11/ PY - 2022/8/11/ DO - 10.1177/07410883221109241 VL - 39 IS - 4 SP - SN - 1552-8472 UR - http://www.scopus.com/inward/record.url?eid=2-s2.0-85135822987&partnerID=MN8TOARS KW - user experience KW - usability KW - help documentation KW - topics KW - micro-instruction ER - TY - JOUR TI - Jane Austen: Writing, Society, Politics AU - Morillo, John T2 - EIGHTEENTH-CENTURY FICTION AB - Find information about UTP Journals. University of Toronto Press is Canada’s leading academic publisher and one of the largest university presses in North America, with particular strengths in the social sciences, humanities, and business. The Book Publishing Division is widely recognized in Canada for its strength in history, political science, sociology, Indigenous studies, and cultural studies. Internationally, UTP is a leading publisher of medieval, Renaissance, Italian, Iberian, Slavic, and urban studies, as well as studies in book and print culture. DA - 2022/6/1/ PY - 2022/6/1/ DO - 10.3138/ecf.34.4.504 VL - 34 IS - 4 SP - 504-506 SN - 1911-0243 ER - TY - JOUR TI - OPPOSITIONAL IDENTITY AND BACK-VOWEL FRONTING IN A TRIETHNIC CONTEXT: THE CASE OF LUMBEE ENGLISH AU - Bissell, Marie AU - Wolfram, Walt T2 - AMERICAN SPEECH AB - This study considers the dynamic trajectory of fronting of the back vowels boot and boat for 27 speakers in a unique, longstanding context of a substantive, triethnic contact situation involving American Indians, European Americans, and African Americans over three disparate generations in Robeson County, North Carolina. The results indicate that the earlier status of Lumbee English fronting united them with the African American vowel system, particularly for the boot vowel, but that more recent generations have shifted toward alignment with European American speakers. Given that the biracial Southeastern United States historically identified Lumbee Indians as “free persons of color” and the persistent skepticism about the Lumbee Indians as merely a mixed group of European Americans and African Americans, the movement away from the African American pattern toward the European American pattern was interpreted as a case of oppositional identity in which Lumbee Indians disassociate themselves from African American vowel norms in subtle but socially meaningful ways. DA - 2022/2/1/ PY - 2022/2/1/ DO - 10.1215/00031283-9116251 VL - 97 IS - 1 SP - 51-68 SN - 1527-2133 KW - Lumbee language KW - African American Language KW - triethnic language contact KW - language accommodation KW - language change ER - TY - JOUR TI - The emergence of bunched vowels from retroflex approximants in endangered Dardic languages AU - Hussain, Qandeel AU - Mielke, Jeff T2 - LINGUISTICS VANGUARD AB - Abstract Kalasha, an endangered Dardic (Indo-Aryan) language, contrasts a rich set of rhotic vowels , a vowel type, which is found in less than 1% of the world’s languages. The acoustic and articulatory correlates of rhotic vowels, and their development and geographical distribution in Kalasha and other Indo-Iranian languages are still poorly understood. The current study brings together typological data on retroflex approximants and flaps in 192 Indo-Iranian language varieties, and phonetic data on rhotic vowels and retroflex approximants in endangered Dardic (Kalasha and Dameli) and Nuristani (Kamviri and Eastern Kataviri) languages. The phylogeography of retroflex approximants and flaps indicates that rhotic vowels are prevalent in those areas of South Asia where retroflex approximants are in abundance. Specifically, the development of rhotic vowels in Kalasha may have been amplified by the presence of retroflex approximants in neighboring Nuristani languages. We show that phonetically the rhotic sounds in the two Dardic languages are produced with a bunched tongue shape, whereas the retroflex approximants in Nuristani languages are produced with the raising of the tongue tip. DA - 2022/4/28/ PY - 2022/4/28/ DO - 10.1515/lingvan-2021-0022 VL - 8 IS - 5 SP - SN - 2199-174X UR - http://www.scopus.com/inward/record.url?eid=2-s2.0-85129890659&partnerID=MN8TOARS KW - articulatory KW - Dardic KW - retroflex KW - rhotic KW - vowels ER - TY - JOUR TI - Signaling Context in Topic-Based Writing AU - Swarts, Jason T2 - TECHNICAL COMMUNICATION AB - In topic-based writing delivered as web help or interactive PDF, readers are able to access topics non-linearly, reading only those topics they feel a need to read. Consequently, readers can easily lose a sense of a topic's broader context of related topics and concepts, which is knowledge presumed of a "qualified reader."<br/> Purpose : This paper investigates how relative "that" and "which" clauses are used to signal context in writing that is intended to be free of obligatory contextual connections to other topics in a documentation set.<br/> Method : This analysis relies on a computer-assisted, descriptive analysis of relative pronoun use in a corpus of published, topic-based documentation. The analysis focuses on "that" and "which," typically used in English to refer to and add information (e.g., a context) about an antecedent noun.<br/> Results : Relative "that" and "which" clauses are shown to be used in a variety of ways in topic-based writing to signal associations between topics, making it easier for readers who need context to find it.<br/> Conclusions : The author offers implications for writing practice that include deliberate, strategic use of "that" and "which" and complementary documentation design that enables readers to locate contextual information signaled by those pronouns. DA - 2022/2// PY - 2022/2// DO - 10.55177/tc812725 VL - 69 IS - 1 SP - 40-53 SN - 0049-3155 UR - http://www.scopus.com/inward/record.url?eid=2-s2.0-85146781255&partnerID=MN8TOARS KW - topics KW - context KW - documentation KW - user experience KW - navigation ER - TY - JOUR TI - How to cheat on your final paper: Assigning AI for student writing AU - Fyfe, Paul T2 - AI & SOCIETY DA - 2022/3/10/ PY - 2022/3/10/ DO - 10.1007/s00146-022-01397-z VL - 3 SP - SN - 1435-5655 UR - http://dx.doi.org/10.1007/s00146-022-01397-z KW - Language models KW - Plagiarism KW - AI literacy KW - Writing KW - Pedagogy KW - Ethics ER - TY - JOUR TI - When Extension and Rhetorical Engagement Meet: Framing Public Audiences for Agricultural Science Communication AU - Pigg, Stacey AU - Scheper, Lindsey Ray T2 - TECHNICAL COMMUNICATION QUARTERLY AB - This article reports from a qualitative case study exploring how a team of agricultural scientists framed their nonscientific audiences for science communication. Our results indicate communication audiences and strategies were shaped by state extension systems. As a result, we argue that technical communicators can contribute to agricultural science communication teams by modeling rhetorically engaged communication and building capacity for audiences overlooked by extension models most focused on economic impact. DA - 2022/2/16/ PY - 2022/2/16/ DO - 10.1080/10572252.2022.2034974 VL - 2 SP - SN - 1542-7625 KW - Collaboration KW - design of communication KW - rhetoric of science ER -