The document discusses and recommends a new magazine called Babel written by linguists for non-specialists. The author read the first issue and found it at a good level for those without linguistics experience while still interesting for those with some background. It covers a wide range of topics, including an article on xenolinguistics. The magazine is currently seeking book reviewers on Twitter.
Thinking about giving a talk about something you love? Possibly at Skepticamp? No? Why not? Here are some reassurances, planning tips, and dos and do-nots to get you up there sharing your expertise with the world.
Getting started with Fun HomeThe following are some notes anMatthewTennant613
Getting started with Fun Home
The following are some notes and handouts.
If you take a little bit of extra time to review them,
this should help a lot with doing the
various assignments.
We will also try to discuss many of them when we meet for ZOOM sessions!
FUN HOME: HOW DO WE READ A “PAGE”?
While reading a traditional prose text (such as a book, article, textbook, short story, report, etc…), this is usually not a complex choice:
EXAMPLE from F. Scott Fitzgerald’s The Great Gatsby:
And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marches, but after a certain point I don’t care what it’s founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have unaffected scorn. (2)
It’s very obvious, right? One simply starts at the upper left-hand corner, reads the top line from left to right, and then continues down to the next line—and repeats the process, sometimes for thousands of lines! Predictable? Sure! Engaging? Maybe…
“Graphic texts” do not work in the same way. As I try to provide examples, please note a basic way to refer to specific parts of a graphic text. Besides indicating pages, I ask that you refer to “panels.” For example, if I refer to 7,2 that would mean page 7, panel 2 (the one featuring Bruce in his classroom).
Here are some terms to consider and some relevant panels:
Words and pictures (obviously…) Panels and gutters [7,2 or L2,2 is a panel. The words “It was his passion” appear in the “gutter” between panels.]
Foregrounds, middle-grounds and backgroundsSymbols and texts [Take a look at 57,1 [Examples appear on almost every page. or L62,1.Bechdel directly shows readers 5,3 or L11,3 are good places to start. the exact words from the dictionary.]
Zoom in or zoom outMoving the camera
[See all of page 23 or L29. If you were filming this,
where would the “camera” be? How often would you need to move it?]
Sequences and non-sequitorsSpeech bubbles and text boxes
[We’ve discussed “sequence.” A non-sequitor [See 3,1 or L9,1.When she says “Uhoh!”
is a sudden and at times confusing sequence. that’s a “speech bubble.” When she
See page 105 or L109, as the scene shifts the time and place says, “In our particular reenactment…,”
very suddenly.] that’s a textbox. A “textbox” often works like “interior monologue.”]
Centers and marginsFonts and Fonts and Fonts
[Most “pages” have a top and bottom. See pages 100-01 [See 48-49 or 142-43. Gatsby
What was the first thing you read? And the features one font for the whole book.
second or third? ] Graphic texts change fonts ofte ...
Slides accompanying my upcoming webinar about literature and lit projects with authors!
Bookable here: http://lpm.dzs.lpm/Webinar/index3.php
On 02. 05. 2017 | 19:00h - 20:30h CET
Access link: https://webconf.vc.dfn.de/making/
Info: https://v.gd/making
This paper suggests that just as many examiners and reviewers read theses from the back to the front, from the references to the abstract; then it might make some sort of sense for the doctoral candidate or academic writer to work from back to front also. The paper is presented as a split or parallel text, where the ‘bricolography’ – the synthetic text that is constructed entirely from the titles of the texts contained within the author’s doctoral bibliography – is spliced together with commentary on the process of assembling this bricolography, together with thoughts as to what light this inquiry might shine into the power that conventions of referencing exercise upon the academic writing process. It problematizes the process of constructing a bibliography, asking questions as to who is writing the PhD; the author or her sources? It inquires into the extent to which authors construct their texts with the gaze of this back-to-front reader in mind; and the impact that the wish to satisfy the examiners gaze may have upon the author’s freedom to engage with critical thinking and original expression. This paper also challenges the assumptions that underlie the construction of abstracts; this abstract you are reading right now could well be the troubled child of an extended abstract that is offered herein.
Blogging, Belief, and Beyond Workshop 2006superhua
Slides+audio (sync'ed) and resoureces found <a href="http://superhua.wordpress.com/2006/06/30/belief-blogging-and-beyond-resources/">here</a>. This workshop explores how particularly a Christian might interact with blogging.
Creative writing is mostly for the writer I think. And I think its more for a smaller group of readers. I don't thing in this instance the writer is trying to please or include as many people as possible.
Thinking about giving a talk about something you love? Possibly at Skepticamp? No? Why not? Here are some reassurances, planning tips, and dos and do-nots to get you up there sharing your expertise with the world.
Getting started with Fun HomeThe following are some notes anMatthewTennant613
Getting started with Fun Home
The following are some notes and handouts.
If you take a little bit of extra time to review them,
this should help a lot with doing the
various assignments.
We will also try to discuss many of them when we meet for ZOOM sessions!
FUN HOME: HOW DO WE READ A “PAGE”?
While reading a traditional prose text (such as a book, article, textbook, short story, report, etc…), this is usually not a complex choice:
EXAMPLE from F. Scott Fitzgerald’s The Great Gatsby:
And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marches, but after a certain point I don’t care what it’s founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have unaffected scorn. (2)
It’s very obvious, right? One simply starts at the upper left-hand corner, reads the top line from left to right, and then continues down to the next line—and repeats the process, sometimes for thousands of lines! Predictable? Sure! Engaging? Maybe…
“Graphic texts” do not work in the same way. As I try to provide examples, please note a basic way to refer to specific parts of a graphic text. Besides indicating pages, I ask that you refer to “panels.” For example, if I refer to 7,2 that would mean page 7, panel 2 (the one featuring Bruce in his classroom).
Here are some terms to consider and some relevant panels:
Words and pictures (obviously…) Panels and gutters [7,2 or L2,2 is a panel. The words “It was his passion” appear in the “gutter” between panels.]
Foregrounds, middle-grounds and backgroundsSymbols and texts [Take a look at 57,1 [Examples appear on almost every page. or L62,1.Bechdel directly shows readers 5,3 or L11,3 are good places to start. the exact words from the dictionary.]
Zoom in or zoom outMoving the camera
[See all of page 23 or L29. If you were filming this,
where would the “camera” be? How often would you need to move it?]
Sequences and non-sequitorsSpeech bubbles and text boxes
[We’ve discussed “sequence.” A non-sequitor [See 3,1 or L9,1.When she says “Uhoh!”
is a sudden and at times confusing sequence. that’s a “speech bubble.” When she
See page 105 or L109, as the scene shifts the time and place says, “In our particular reenactment…,”
very suddenly.] that’s a textbox. A “textbox” often works like “interior monologue.”]
Centers and marginsFonts and Fonts and Fonts
[Most “pages” have a top and bottom. See pages 100-01 [See 48-49 or 142-43. Gatsby
What was the first thing you read? And the features one font for the whole book.
second or third? ] Graphic texts change fonts ofte ...
Slides accompanying my upcoming webinar about literature and lit projects with authors!
Bookable here: http://lpm.dzs.lpm/Webinar/index3.php
On 02. 05. 2017 | 19:00h - 20:30h CET
Access link: https://webconf.vc.dfn.de/making/
Info: https://v.gd/making
This paper suggests that just as many examiners and reviewers read theses from the back to the front, from the references to the abstract; then it might make some sort of sense for the doctoral candidate or academic writer to work from back to front also. The paper is presented as a split or parallel text, where the ‘bricolography’ – the synthetic text that is constructed entirely from the titles of the texts contained within the author’s doctoral bibliography – is spliced together with commentary on the process of assembling this bricolography, together with thoughts as to what light this inquiry might shine into the power that conventions of referencing exercise upon the academic writing process. It problematizes the process of constructing a bibliography, asking questions as to who is writing the PhD; the author or her sources? It inquires into the extent to which authors construct their texts with the gaze of this back-to-front reader in mind; and the impact that the wish to satisfy the examiners gaze may have upon the author’s freedom to engage with critical thinking and original expression. This paper also challenges the assumptions that underlie the construction of abstracts; this abstract you are reading right now could well be the troubled child of an extended abstract that is offered herein.
Blogging, Belief, and Beyond Workshop 2006superhua
Slides+audio (sync'ed) and resoureces found <a href="http://superhua.wordpress.com/2006/06/30/belief-blogging-and-beyond-resources/">here</a>. This workshop explores how particularly a Christian might interact with blogging.
Creative writing is mostly for the writer I think. And I think its more for a smaller group of readers. I don't thing in this instance the writer is trying to please or include as many people as possible.
1. Babel
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Check out the promising new magazine, Babel, written by linguists for non-specialists. I’ve
read a bit of the first issue and I thought it was at a fairly nice level–new ideas if you
haven’t had any linguistics classes at all; not too challenging if you have, but still plenty of
interest. There are some great people on board. I wouldn’t have heard of it if it hadn’t
been for David Crystal’s blog post about it, due to being fairly absent from Twitter. (Thank
goodness for Google Reader.)
For now, you can read the first issue of
Babel online or download it.
"It has always seemed
strange to me that in our
endless discussions about
education so little stress is
laid on the pleasure of
becoming an educated
person, the enormous
interest it adds to life. To be
able to be caught up into
the world of thought"
It has a very wide range of topics, including an article on xenolinguistics from someone who
definitely knows his sf.
They were just looking for book reviewers via their Twitter account, too, if you’re interested
(I probably don’t have quite enough of a linguistics background, alas, and there’s that
appalling parentheses addiction, too).
Possibly Related Posts:
2. I chanced on this post some time ago and wanted to share it with you. The author has got a number
of quite interesting mindset on the subject. It's not going to alter your opinion of the world However
quite often scratching the surface is enough to see if there is any problem below. I really hope, it
was truly worth the time!
