Teaching Spanish as a non-primary language in the twenty-first century: insights from linguistic theory, psycholinguistic theory, and empirical research on language acquisition

2014 ◽  
Vol 1 (1) ◽  
pp. 86-100
Author(s):  
Juana M. Liceras

After postmodernism’s key theorists abandoned the topic (Fredric Jameson) or even allowed that postmodernism is no longer exists (Linda Hutcheon), various concepts under the umbrella term “post-postmodernism” have begun to emerge since 2000. One of the last intellectual alternatives to post-modernism was the metamodernism proposed by two Europeans, Timotheus Vermeulen and Robin van den Akker. In 2010 they published a kind of manifesto entitled Notes on Metamodernism in which they argued that there had been a pivot away from cynicism and irony toward sincerity and romance in the newly emerging culture. This pivot heralds the arrival of the new era of metаmodernism. The author of the article critically evaluates the manifesto and concludes that the concept of metamodernism does not stand up to scrutiny and has little of substance to offer. The metamodernism manifesto is at best a set of declarations. However, this does not mean that the metamodernists had not intuitively hit upon the key to cultural and social tendencies that are still not completely clear. At the end of 2017 a new collection of articles edited by Vermeulen and van den Akker was published. Even though the authors of the metamodernism concept had almost nothing new to offer and failed to develop their ideas any further, other researchers and thinkers with different theoretical orientations from the original authors have taken up the metamodernism impulse and made it qualitatively more interesting. The metаmodernism project has been developed with greater sophistication by theorists and also through empirical research. Metamodernism has been vindicated by the new life it has been given.


Author(s):  
Lucy O'Brien

Taking the view that punk is a constant signifying practice, and that one is not born a woman but becomes one, this chapter uses empirical research to investigate how 1970s punk women in Britain live punk in the twenty-first century. Drawing on a set of eighteen semi-structured interviews, the chapter explores how as women get older the articulation of their punk identity can be—through fashion, art, music, and everyday life—more complex, nuanced, and profound. Far from being a phase of youthful rebellion they have left behind, many consider it vital in the way they manage their lives.


2021 ◽  
pp. 1-35
Author(s):  
Tobias Smith ◽  
Daniel Pascoe

Abstract Although China remains the world’s most prolific death-penalty jurisdiction, it has also reportedly reduced executions in the twenty-first century. China achieved this reduction in part through the use of a nominal capital sentence called “suspended execution.” The success of suspended execution as a diversionary tool has produced calls for its introduction elsewhere. However, there has been no empirical research on suspended execution outside China. This article fills this gap by identifying neighbouring countries where suspended-execution proposals have been considered, determining why these countries considered it, and examining how proposals were structured. We identify four Asian jurisdictions—Taiwan, Japan, Vietnam, and Indonesia. We find that all of these countries looked to China for inspiration; each did so independently and for reasons unrelated to China’s death-penalty reforms. Our findings provide insights about capital punishment in Asia, the appeal of suspended execution, and the role of China in regional penal practice.


2021 ◽  
Vol 9 (1) ◽  
pp. 139-157 ◽  
Author(s):  
Nicolas Pillai ◽  
Vanessa Jackson

Re-enactment can enable participatory researchers to ‘experience’ through qualitative ethnography the dynamics of how teams of practitioners employ tacit skills to make decisions and collaborate. This article explores the practice-as-research re-enactment of a historic 1960s television show, Jazz 625 (1964–66). With the emphasis on the process rather than the product through the production of a modern-day interpretation of the original – entitled Jazz 1080 – the researchers draw conclusions around the complex workings of a television production team through the creation of a new artefact. The empirical research captures how professional attitudes and institutionalized forms of collaborative creative labour shape programme-making. Comparisons are made between the original and re-enacted productions, with the conclusion being made that, despite advances in technology, the practices and processes of television production are remarkably similar between the 1960s and the early twenty-first century.


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