Inclusive language remains a hot topic. Despite decades of empirical evidence and revisions of formal language use, many inclusive adaptations of English and German continue to be ignored or contested. But how to convince speakers of the importance of inclusive language? Rewriting Language provides one possible answer: by engaging readers with the issue, literary texts can help to raise awareness and thereby promote wider linguistic change.

No detailed description available for "Regulated Rewriting in Formal Language Theory".

Limited Language is a web-platform, co-founded in 2005 by Colin Davies (University of Wolverhampton) and Monika Parrinder (Royal College of Art, London), for generating writing and discussion about the design process. Over the last four years the site has collected a series of essays and commentary dealing with the key issues which effect and shape visual communication today. limited language: rewriting design, examines the relationship between traditional printed formats (the book) and new digital ones (blogging). Hybrid media forms are already transforming design. How might they be used to rethink design writing? limited language: rewriting design creates an alternative and innovative "writing space" – the reflection and distance which can be offered only by a book. Each of its sub-sections comprises an article from the website, followed by a reflection/response to the topic by the responses raised on limitedlanguage.org, while rich visual imagery in colour illustrates each article/response. "This is a rare book about design that embraces ideas with as much enthusiasm as objects. It illustrates its premise by showing feedback culture in action. If you find yourself wanting to join in the dialogue with thoughts of your own – and you will – their website is ready and waiting." – Rick Poynor www.limitedlanguage.org

Unified and self-contained introduction to term-rewriting; suited for students or professionals.

What are the real “basics” of writing, how should they be taught, and what do they look like in children’s worlds? In her new book, Anne Haas Dyson shows how highly scripted writing curricula and regimented class routines work against young children’s natural social learning processes. Readers will have a front-row seat in Mrs. Bee’s kindergarten and Mrs. Kay’s 1st-grade class, where these dedicated teachers taught writing basics in schools serving predominately low-income children of color. The children, it turns out, had their own expectations for one another’s actions during writing time. Driven by desires for companionship and meaning, they used available linguistic and multimodal resources to construct their shared lives. In so doing, they stretch, enrich, and ultimately transform our own understandings of the basics. ReWRITING the Basics goes beyond critiquing traditional writing basics to place them in the linguistic diversity and multimodal texts of children’s everyday worlds. This engaging work: Illustrates how scripted, uniform curricula can reduce the resources of so-called “at-risk” children.Provides insight into how children may situate writing within the relational ethics and social structures of childhood cultures. Offers guiding principles for creating a program that will expand children’s possibilities in ways that are compatible with human sociability. Includes examples of children’s writing, reflections on research methods, and demographic tables. “Dyson’s ethnographies offer new ways of thinking about writing time and remind us of the importance of play, talk, and social relationships in children’s literacy learning. If every literacy researcher could write like Dyson, teachers would want to read about research! If policymakers took her insights on board, classrooms might become more respectful and enjoyable spaces for literacy teaching and learning that soar way above the basics.” —Barbara Comber, Queensland University of Technology, Australia

Although the storytelling of any time rewrites itself, rewriting became a primary concern in the literature of the twentieth century, an era characterized as having quoted, reenacted, cannibalized, revised, redone, refurbished, and outright plagiarized the texts of earlier times. The modern obsession with literary reiteration manifests itself in a rather unique way in the narratives of Marguerite Duras, Annie Ernaux, and Marie Redonnet. These authors systematically and repeatedly rewrite their own texts, and in so doing, give evidence of three of the more salient aspects of twentieth-century French literature: a trend toward the representation of multifaceted selves, a desire to reevaluate the literary paradigm, and an acute concern for the unreliability of language. This book argues that the rewriting performed by Duras, Ernaux, and Redonnet moves beyond the tacit rewriting that occurs in any text toward a renovation of various features of the literary arena within which they circulate. Cathy Jellenik argues that all writing contains rewriting - an argument grounded in the theoretical apparatuses of Saussure, Bakhtin, Benveniste, Barthes, Kristeva, and Derrida. She then examines and interrogates the ways in which Duras, Ernaux, and Redonnet use rewriting to question and rethink the literary traditions they inherit. Jellenik suggests that the rewriting projects of Duras, Ernaux, and Redonnet promise to lead them, and their readers, toward the creation of a new literary aesthetic capable of responding to the questions of our times.

Rewriting Joyce's Europe sheds light on how the text and physical design of James Joyce's two most challenging works, Ulysses and Finnegans Wake, reflect changes that transformed Europe between World War I and II. Looking beyond the commonly studied Irish historical context of these works, Tekla Mecsnóber calls for more attention to their place among broader cultural and political processes of the interwar era. Published in 1922 and 1939, Ulysses and Finnegans Wake display Joyce's keen interest in naming, language choice, and visual aspects of writing. Mecsnóber shows the connections between these literary explorations and the real-world remapping of national borders that was often accompanied by the imposition of new place names, languages, and alphabets. In addition to drawing on extensive research in newspaper archives as well as genetic criticism, Mecsnóber provides the first comprehensive analysis of meanings suggested by the typographic design of early editions of Joyce's texts. Mecsnóber argues that Joyce's fascination with the visual nature of writing not only shows up as a motif in his books but also can be seen in the writer's active role within European and North American print culture as he influenced the design of his published works. This illuminating study highlights the enduring--and often surprising--political stakes in choices regarding the use and visual representation of languages. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles

Women's liberation sought to transform every sector of U.S. society--its educational system, culture, language, politics, and, importantly, the delivery of social services. To enable this movement, women all over the country began to establish women's centers. In New York City, women from almost every local women's liberation group took over an abandoned building in lower Manhattan on New Year's Eve, 1970. They named the building The Fifth Street Women's Building and renovated it to feed, clothe, shelter, and educate women in need. The take-over was a huge success, attracting hundreds of activists and community members. Thirteen days later, the New York City Tactical Police stormed the building, expelled the women, and ended the action. The City then tore the building down and built a parking lot on the site. June Arnold was one of the original planners and an active participant in this episode. When she got out of jail, she went home and wrote this novel about what happened. The Cook and the Carpenter, which quickly gained fame for its use of a non- gendered language, remains one of the best representations of the time period that berthed modern feminism and paved the way for lesbian communities.

Unlike current survey articles and textbooks, here the so-called confluence and termination hierarchies play a key role. Throughout, the relationships between the properties in the hierarchies are reviewed, and it is shown that for every implication X => Y in the hierarchies, the property X is undecidable for all term rewriting systems satisfying Y. Topics covered include: the newest techniques for proving termination of rewrite systems; a comprehensive chapter on conditional term rewriting systems; a state-of-the-art survey of modularity in term rewriting, and a uniform framework for term and graph rewriting, as well as the first result on conditional graph rewriting.

Historians of theatre face the same temptations and challenges as other historians: they negotiate assumptions (their own and those of others) about national identity and national character; they decide what events and actors to highlight--or omit--and what framework and perspective to use for telling the story. Personal biases, trends in scholarship, and sociopolitical contexts influence all histories; and theatre histories, too, are often revised to reflect changing times and interests. This significant collection examines the problems and challenges of formulating national theatre histories.The essayists included here--leading theatre scholars from all over the world, many of whom wrote essays specifically for this volume--provide an international context for national theatre histories as well as studies of individual nations. They cover a wide geographical area: Asia, the Middle East, Africa, Europe, and North America. The essays contrast large countries (India, Indonesia) with small (Ireland), newly independent (Slovenia) with established (U.S.A.), developed (Canada) with developing (Mexico, South Africa), capitalist (U.S.A.) with formerly communist (Russia), monolingual (Sweden) with multilingual (Belgium, Canada), and countries with stable historical boundaries (Sweden) with those whose borders have shifted (Germany).The essays also explore such sociopolitical issues as the polarization of language groups, the importance of religion, the invisibility of ethnic minorities, the redrawing of geographical borders, changes in ideology, and the dismantling of colonial legacies. Finally, they examine such common problems of history writing as types of evidence, periodization, canonization, styles of narrative, and definitions of key terms.Writing and Rewriting National Theatre Histories will be of special interest to students and scholars of theatre, cultural studies, and historiography.