‘No written word can express the sympathy of a spoken word’: Casualty Telegrams After the Battle for Bardia, 1941

2019 ◽  
pp. 161-187
Author(s):  
John Moremon
Keyword(s):  
Spoken Word ◽  
Written Word

Point-and-Chat®

2011 ◽  
pp. 169-178 ◽  
Author(s):  
Benjamin Slotznick
Keyword(s):  
Instant Messaging ◽  
Spoken Word ◽  
Alternative Communication ◽  
Augmentative Alternative Communication ◽  
Reading And Writing ◽  
Vocabulary Strategies ◽  
Face To Face ◽  
Text Chat ◽  
Written Word ◽  
Effective Use

Point-and-Chat®, most simply, is the first software for Instant Messaging with a built-in screen reader, designed to be used in conjunction with Augmentative/Alternative Communication (AAC) devices. For many AAC users, especially those who have difficulty reading and writing, an AAC device is the primary or only way they can communicate with other people. This communication is primarily one-on-one and face-to-face. The goal of Point-and-Chat® is to take the skills that an AAC user has in producing the spoken word and provide scaffolding that will enable the AAC user to use those skills to communicate with the written word. The primary impediment to effective use of Point-and-Chat® by AAC users appears to be a lack of appropriate text-chat vocabularies for poor readers, including vocabulary strategies to re-establish conversations when the conversational thread has been lost.

scholarly journals Paul Leni’s Waxworks: Writing Images from Silence, through Media and Philosophy

2016 ◽  
Vol 13 (1) ◽  
pp. 55-72
Author(s):  
Ciro Inácio Marcondes
Keyword(s):  
Spoken Word ◽  
Silent Cinema ◽  
Mise En Abyme ◽  
Written Word ◽  
Weimar Cinema

Abstract The so-called German Weimar Cinema encompasses a profusion of films that used frame narratives. In the case of Paul Leni’s Waxworks (Das Wachsfigurenkabinett, 1924), as the framing stems from a literary act (the stories are framed by the act of narration), the film proposes the mise-en-abyme technique as a sort of immersion into the intermedial when it deals with notions like speaking, writing, silence, image and cinema. In the case of silent cinema, and especially in Waxworks, the presence of a perverse relation with the medium of writing becomes noticeable (producing a fantasy of writing), since every effort to represent the literary act on film results in an infinite production of silent images, creating a parody effect and even postulating an act of aggression against writing. This confrontational relation between the writing code and the code of the mute image in silent cinema allows us to suggest that there is an inherent inflexibility in the language of silent cinema which does not allow the coexistence of written and spoken word as complementary codes. On the contrary, in silent cinema, the image and the silence of the film seem to work against the word, the spoken word being set forth against silence, and the written word against images.

scholarly journals Un texto vivo. Formas e interacciones del libreto de pastorela (Ihuatzio y Comachuén, Michoacán)

Revista Trace ◽  
2019 ◽  
pp. 48
Author(s):  
Elizabeth Araiza Hernández
Keyword(s):  
Spoken Word ◽  
Field Observations ◽  
Ancient Manuscripts ◽  
Written Word ◽  
Subject Material

A partir del análisis de dos casos ejemplares y de observaciones de campo en diferentes pueblos purépechas, se argumenta sobre el valor antropológico, las interacciones y usos peculiares del libreto de pastorela. El libreto se relaciona con tres manuscritos antiguos en lengua tarasca, y con los que se utilizan en otras danzas y otros rituales indígenas, donde la palabra escrita es importante –y no solamente la palabra hablada o representada en imágenes, como establecieron los estudios clásicos– para el desenvolvimiento, sentido y alcances del ritual. El corolario es una reflexión sobre el poder de un objeto –el libreto–, para desafiar distinciones binarias: objeto-sujeto, material-inmaterial, y lo que se ha esta­blecido como eficacia, causas o efectos del ritual. Abstract: Based on the analysis of two exemplary cases and on field observations in different Purépecha villages, we examine the anthropological value, interactions and peculiar uses of the Christmas play script scenario. This scenario is related to three ancient manuscripts in Tarascan language, and to those used in other dances and Indian rituals, in which the written word –and not only the spoken word or the word represented in images, as established in classic studies– is important for the development, sense, and significance of the ritual. The corollary is a reflection on the power of an object –script scenario– to challenge binary distinctions: object-subject, material-immaterial, and to prompt us to rethink what has been established as efficacy, causes or effects of the ritual as anthropological problems. Résumé : À partir de cas concrets et d’observations de terrain menées dans différents villages purépechas, cette étude aborde la valeur anthropologique, les interactions et les usages particuliers donnés au livret de pastourelle. Ce dernier est associé à trois anciens manuscrits rédigés en langue tarasque et aux autres textes utilisés dans le cadre de danses et de rituels autochtones où la parole écrite joue un rôle important – contrairement à ce qu’établissent certains classiques, la parole ne se limite pas à l’oralité ou à la représentation en images – dans le déroulement du rituel, pour son sens et sa portée. En corollaire, l’article développe une réflexion sur le pouvoir de l’objet – ici, le livret – pour interroger les distinctions binaires : objet/sujet, matériel/immatériel, et pour repenser en tant que problèmes anthropologiques ce qui avait été pris pour de l’efficacité, les causes ou les effets du rituel.

scholarly journals On Kant’s Concept of the Public Use of Reason:

2020 ◽  
Vol 8 (1) ◽  
pp. 101
Author(s):  
Roberta PASQUARÈ
Keyword(s):  
Spoken Word ◽  
Second Step ◽  
The Public ◽  
Normative Framework ◽  
Public Reasoning ◽  
The Status ◽  
Written Word

With this paper I intend to rehabilitate the status of orality as medium of the public use of reason in the normative Kantian sense. As a first step, I reconstruct the reasons why Kant rejects the spoken word and designates the written word as the sole medium of public reasoning. As a second step, I argue for the possibility of employing the spoken word as medium of public reasoning while remaining within the normative framework of Kant’s concept of the public use of reason.  Recebido / Received: 20 de abril de 2020; / 20 April 2020Aceito / Accepted: 6 de maio de 2020 / 6 May 2020

scholarly journals A Phonology-based Study: English Pronunciation Inconsistency

2019 ◽  
Author(s):  
Ambalegin . ◽  
Tomi Arianto
Keyword(s):  
Sound Production ◽  
Spoken Word ◽  
Efl Learners ◽  
English Pronunciation ◽  
One To One ◽  
Written Word

English is not a one-to-one relationship between letters and pronunciation. There is mostly no correspondence between written word and spoken word. English pronunciation inconsistency made EFL learners erroneous while pronouncing. This phonology-based study discussed the English pronunciation inconsistency qualitatively. It identified the inconsistency of vowels and consonants pronounced in words and the areas of English pronunciation inconsistency. This study applied Yule, Finegan, and Kelly’s theories. <a> is sounded as /eI/ /@/ /æ/ /A:/ /O:/ /I/ /6/; <e> is sounded as /i:/ /e/ /@/ /A:/ /u:/; <i> is sounded as /2I/ /I/ /3:/ /A:/; <o> is sounded as /@U/ /6/ /2/ /A:/ /U/ /I/ /@/ /O:/ /w2/; and <u> is sounded as /jU/ /2/ /I/ /@/ /e/ /U@/. <c, d, g, j, n, p, s, t, w, x, y, z> are pronounced inconsistently. <c> is sounded as /s/ /tS/ /k/ /S/; <d> is sounded as /d/ /dZ/ /t/; <g> is sounded as /g/ /dZ/ /f/; <j> is sounded as /dZ/ /h/ /j/; <n> is sounded as /n/ /ŋ/; <p> is sounded as /p/ /f/; <q> is sounded as /k/; <s> is sounded as /s/ /z/ /S/ /Z/; <t> is sounded as /t/ /8/ /ð/ /tS/ /S/; <w> is sounded as /w/ /U/; <x> is sounded as /ks/ /kS/ /gz/ /z/; <y> is sounded as /@/ /i/ /ai/ /j/; and <z> is sounded as /z/ /ts/. The areas of inconstancy in English pronunciation occur in; same letter different sounds; same sound different letters; silent letters; and sound production with no letters

scholarly journals Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach

1970 ◽  
pp. 257-272
Author(s):  
Arkadiusz Lewicki
Keyword(s):  
Fire Department ◽  
Spoken Word ◽  
Film Adaptations ◽  
Main Task ◽  
Possible World ◽  
Story Structure ◽  
The World ◽  
Written Word ◽  
Near Future ◽  
Different Levels

Lewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13. The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us.

The formula of love: mythopoetics of K. Simonov’s cycle “With you and without you”

2021 ◽  
pp. 75-82
Author(s):  
Inessa N. Korzhova ◽  
Keyword(s):  
Subjective Assessment ◽  
Spoken Word ◽  
The Other ◽  
Special Role ◽  
Internal Dynamics ◽  
Two Component ◽  
Binary Oppositions ◽  
Evil Spirits ◽  
Written Word ◽  
The One

The article is devoted to the study of the concept of spiritual and physical love in K. Simonov’s cycle “With you and without you” and reveal the mythopoetic foundations of the images of the cycle. The poet builds a system of binary oppositions formed by two rows: soul — light — visual perception — eyes — sound — written word, on the one hand, and body — darkness — tactile perception — hands and lips — silence — spoken word, on the other. The separate pairs of images based on the Slavic beliefs, but their correlation is the author’s neomyth. A special role belongs to the sacred word, which is understood not as a conventional sign, but as part of the designated entity. The psychophysical dichotomy itself is connected with the duality of the heroine, who either experiences a conflict between the spiritual and the physical, or is endowed with two souls. The latter aspect, as well as the ability of the heroine to incarnate in the vortex elements strengthen her connection with the images of evil spirits. There is a deliberate tension between the subjective assessment of the hero, who sees in the night appearance of the heroine a good essence, and the mythological perception of the night as dangerous, even fatal. In general, fluctuations in the assessment of the image of the heroine and the preference for different faces of love (exalted spiritual, passionate, harmonious “two-component” ones) create the internal dynamics of the cycle.

Sign in / Sign up

Export Citation Format

Share Document