Introducing the Visual Art through Concrete Poetry in the EFL Classroom: A Case Study

International Journal of Language and Literary Studies

Teaching poetry offers the teacher of literature some basic and active ways to engage students in learning English because of poetry’s rich language which represents an opportunity for learners to explore meanings and be able to formulate creative responses. One must be aware of the fact that poetry includes various types which differ in forms, and each one of these may have a particular influence on students? learning literature; that is why one centralized the research area on concrete poetry or what is called visual poetry too. This study aims to teach students not only to read and listen to a poem but to develop the skill of creativity through rewriting and this ability would be provoked by the visual shape of the concrete poem. One is trying to bring fun in the EFL classroom and particularly during the literature lecture where students are probably bored by analyzing every line and stanza. So, all these aims were to be concrete via a test, observation and questionnaire. These scientific tools confirmed one’s hypotheses about how positive is concrete poetry for the group of the third-year English L.M.D. students at the University of Djilali Liabes, Sidi Bel Abbes

The Speech Act of Thanking in Shakespeare: The Case of Romeo and Juliet and All’s Well that Ends Well

Notion Journal of Linguistics Literature and Culture

Shakespeare’s written words are not innocent. Many individual words from his dramatic texts can be “obscure or impenetrable”. They are not only meant to embellish the scene and the context, yet their elaboration is aimed to set up meaning and effect. In this part, we will analyze and look at how this utterance operates in characters’ dialogues. We will try to highlight Shakespeare conventionalized thank you, which can be not only a sign of gratitude but a complex emotion that adds to the dramatic situation. In the construction of Shakespeare's dialogues in the plays, many linguistic features are omnipresent and do serve a variety of functions. From a linguistic perspective, thanking is a conversational routine such as advising, requesting and complementing, yet in the use of thanking expressions, there is genuine artistry that Shakespeare wittingly invented. Some words carry risks when negotiating actions. We might think primarily of insults, criticisms and curses. These negative speech acts are not the only damaging and threatening in speech, there is also thanksgiving, which can be regarded as an element bearing risks. The present study focuses on the speech act of thanking in the Shakespearean corpus. The word "thanks" and the formula "I thank you" occurred more than four hundred times in the 37 plays of Shakespeare. Was "thanking" a sincere speech act that acted in the fictional setting of the play? What are the reasons that lead to "thanks" in 16th century Shakespeare? Did Shakespeare succeed to use “thanks” as a successful performative speech act that acts when it is said, or are "thanks" a simple language ornament? To answer these questions, we are going to select specific scenes from Shakespeare's All's Well that Ends Well and Romeo and Juliet examining how the speech act of thanking operates in the plays.

How Culturally Diverse Is the Virtual Space? Towards Inclusive Pedagogy: A Case Study at the Arab Open University

The Use of Literary Adaptations in the EFL Classroom: A Case Study

FOSTER Journal of English Language Teaching

The marriage of the two arts, literature and cinema, gave birth to the production of literary adaptations, which is inspiring to explore in an EFL (English as Foreign Language) literature classroom because EFL students are becoming reluctant readers with limited critical literacy. Literary texts in print might cause a loss of interest in literature class. That is why the teacher has always secured material that will keep students' learning literature an enjoyable experience. The researcher experimented on a group of fourth-year English classical system students at Djilali Liabes University, Sidi Bel Abbes, Algeria, to bring about a change. In their British Literature classroom, one projected "Pride and Prejudice," Austen's film adaptation (2005), to observe students' abilities in criticizing the Film and discussing it and to discover to what extent it will make them eager to read the novel and get engaged. Hence, based on the structured observation during the film projection and the semi-structured questionnaires, the researcher found that Austen's adaptation was fruitful since it pushed students into critiquing what is visual and showing interest in further reading the written word. In addition, it contributed to memorizing and discovering some of the British cultural aspects of that era. Therefore, opting for a cinematic milieu in a literature classroom can have dual aims: educating and entertaining, raising students' visual awareness through readings of adaptations by concertizing what is written.

Leading the Shift to Online English Education: Insights into Managing Virtual Learning Environments

Traditional classrooms have been replaced by online platforms because of the quick development of technology in education. As virtual classrooms grow increasingly prevalent, it is imperative to understand the strategies and challenges associated with efficiently managing these digital learning environments. This case study examines the virtual classroom management strategies used by Saudi Arabian teachers at the Arab Open University. This research examines the challenges remote teachers have in maintaining order, encouraging student engagement, and creating a positive learning environment. The research approach used in this case study includes qualitative data-gathering techniques that integrate questionnaires and observations. The case study's insights draw attention to various important aspects of virtual classroom management. Primarily, keeping an organized learning environment requires setting clear expectations and norms for student conduct, participation, and academic needs. Secondly, students' involvement and participation are greatly enhanced by the efficient use of technology.

Thanking in Shakespeare's World : Thanking in Shakespeare's World

Munich Personal RePEc Archive (Ludwig Maximilian University of Munich)

Le Remerciement dans le Monde de Shakespeare : Contextes et Etudes de CasDans cette these nous explorons ce que le remerciement signifie a l’epoque elisabethaine et comment il se manifeste. Aussi nous analysons le remerciement tel qu’il est defini dans les dictionnaires d’e l’epoque. Nous examinons egalement les textes religieux, les manuels de courtoisie, les traites de rhetorique qui mentionnent l’acte de remerciement. Apres analyse ce contexte, nous abordons le remerciement comme acte de langage a la lumiere de la pragmatique.On definit l’existence reelle du mot a partir de son degre d’influence sur le monde reel. Une simple combinaison de mots a le potentiel d’alterer une situation, n’importe laquelle. L’etude du pouvoir de la parole s’est inscrite dans le cadre theorique de ce que l’on appelle « la pragmatique ». Plus precisement, le concept « d’acte de langage » a ete explore non seulement dans la pragmatique mais aussi dans diverses disciplines ; telles que la philosophie du langage et aussi les etudes litteraires et theâtrales.Catherine Kerbrat Orecchioni (1984) a etabli une distinction entre trois types de pragmatique : « enonciative », « illocutoire » et « conversationnelle » . Nous nous proposons d’etudier la seconde theorie qui est la pragmatique illocutoire ou les valeurs illocutoires d’un enonce sont parfaitement exploitees. Dans notre propos, les contextes d’enonciation que nous avons selectionnes ne sont pas ordinaires. Car notre etude porte sur des fragments theâtraux tires de Shakespeare avec leur complexite et leur particularite. Le theâtre est bien un lieu ou dire est par excellence faire. Donc la parole dramatique est mise au service de l’action. Promettre dans un contexte reel peut s’accomplir differemment sur scene. En prenant l’hypothese que le langage sert a faire avancer l’action, nous allons nous interesser au « thank you » qui signifie «merci » en francais dans les pieces de Shakespeare tout en etudiant les contextes d’enonciation du remerciment au cours de la periode elisabethaine. Notre objectif est de voir comment les differents concepts de la pragmatique elabores permettent de devoiler certains aspects pertinents du remerciement typiquement shakespearien. Cette forme d’analyse alimentera notre reflexion afin d’eclaircir la fonction du remerciement au theâtre. Il est aussi indispensable d’observer les modes de realisation du remerciement de ces differentes scenes ainsi que le ton et le contexte. Dans un premier temps, l’elucidation de notre concept principal est primordiale. Que veut donc dire « remercier » ou de quoi s’agit-il quand on parle d’un acte de remerciement ?D’apres l’Oxford English Dictionary (OED ), « thanks » veut dire : « to express gratitude or obligation to »; « to give the thanks or credit for something to consider or hold responsible »; « ironical use to blame »; « thank you for nothing an ironical expression indicating that the speaker thinks he has been offered nothing worth thanks ». On a aussi le « thank offering » qui a ete utilise en 1536 qui est explique « in the Levitical law, an offering presented as an expression of thankfulness or gratitude to god; hence an offering or gift made by way of thanks or acknowledgement ». Dans les textes de Shakespeare le terme « thank » a ete employe sous plusieurs formes. Nous citons « thank, thankful, tank, dank, thanks ». On trouve bien aussi « gramercy » qui veut dire « grand merci ». Selon the Harvard Concordance le mot « thank » a ete employe trois cent quarante-six fois et « thanks » deux cent deux fois. Citons comme example « Sir, you may thank yourself for this great loss » (TMP, 2.1.124), « I thank god and my cold blood” (ADO, 1.1.130). “I am even poor in thanks but I thank you (HAM, 2.2.273). On trouve aussi le le terme Allemand « dank » qui a aussi ete utilise pour remercier dans « by gar, me dank you for dat » (WIV, 2.3.90).

Hedeggerian Thinking and The Role of Memory in Shakespeare's The Winter's Tale

International Journal of Literature Studies

Heidegger’s existentialism goes beyond the limits of the human brain’s functioning where thinking is more than what rationality may generate. In his essay “What is called Thinking?” Heidegger mentions that thinking and thanking are related. This relationship is clarified in Margaret Visser’s The Gift of Thanks, where she describes gratitude emphasizing the role of memory in expressing it. On this basis, one explores how thanking is performed in Shakespeare’s Winter’s Tale examining both memory and thinking interferences in the course of the characters’ thanking. Leontes sudden jealousy makes him loose all positive thoughts imprisoning Hermione, who expects reward having but obeyed his wishes to convince his friend to stay. After the trial scene, Paulina brings Leontes' recollections into life; by enumerating his wife's amiable personality. In act five, the remorseful king blames himself for his ingratitude. One considers this as the recovery of his memory since “both memory and thanks move their being in the thanc” as Heidegger asserts it. The final scene proves one’s assumption, that to thank is to think where Leontes thanks Paulina graciously by marrying her to his most honest servant Camillo. In short, to utter “thankfulessness would be thoughtlessness”

Pamela’s signifying signs and gestures: A semiotic analysis

Lililacs Journal English Literature Language and Cultural Studies Journal

In this paper, the feminine character of Pamela is explored throughout the epistolary novel. One is concerned with how Pamela’s constructed character as a female figure is represented with language and action, rather than adopting a defending position of the suppressed females in the 18th century. Pamela’s politeness and indirectness in her letters are aspects of her virtue and femininity. However, her language and use of specific politeness strategies, can also be considered a way of manipulating Mr B. Through her voice, there is be a kind of gradual unity of the female and male voices. Pamela is a representative of a doubled voice, exhibiting both of her inner and outer femininity. In this study, Pamela’s language is analysed using Julia Kirteva’s concept of semiotics.
 Keywords: Semiotics, Pamela, sign language, verbal language, femininity

Speech Act Theory and Shakespeare

Speech Act Theory and Shakespeare delves deeper than linguistic ornamentation to illuminate the complex dynamics of thanking as a significant speech act in Shakespearean plays. The word "thanks" appears nearly 400 times in 37 Shakespearean plays, calling for a careful investigation of its veracity as a speech act in the 16th-century setting. This volume combines linguistic analysis to explore the various uses of thanks, focusing on key thanking scenes across a spectrum of plays, including All's Well That Ends Well, Romeo and Juliet, The Merchant of Venice, Timon of Athens, The Winter's Tale, and the Henriad. Shakespeare's works indicate the act of thanking to be more than a normal part of dialogue; it is an artistic expression fraught with pitfalls similar to those of negative speech acts. The study aims to determine what compels the characters in Shakespeare to offer thanks and evaluates Shakespeare's accomplishment in imbuing the word "thanks" with performance quality in the theatrical sphere. This work adds to our comprehension of Shakespearean plays and larger conversations on the challenges of language usage in theatrical and cultural settings by examining the convergence of gratitude with power dynamics, political intrigue, and interpersonal relationships, drawing on a multidisciplinary approach that includes pragmatics, philosophy, religion, and psychology.

General Conclusion

General Introduction

Hybrid Learning and Teaching: Toward the Implementation of a Flipped Classroom. A Case Study at the Arab Open University

English language teaching