In 2016 employers hiring four-year college graduates indicate that 27.8% have deficiencies in written communication. Postsecondary learning objectives should focus on improving specific writing skills like grammar, sentence structure, and vocabulary usage for individual students and monitoring text readability as an overall score to measure learning outcomes. Web-based applications and the tools integrated into them have the potential to serve as a diagnostic solution for analyzing the text readability and writing skills of students. Organization and structuring of Canvas data was required before adding text readability and other writing skills analytics as part of the process to develop diagnostic learning analytics that interprets student writing skills in the learning management system. Decision modeling was used to capture and describe the specifics of literacy improvement decisions for instructors and administrators in a graphical notation and structured format.

Literary Field and Literature in Early Post-war Period Táiwān (1945-1949) Abstract The aim of this thesis is to analyze the literature and literary field of early post-war Táiwān (1945-49). This period, when Táiwān was politically reintegrated into China after 50 years as a Japanese colony, exerted a crucial influence on later historical events and developments. During these years, measures for the sinicization of Táiwānese society were implemented, but intellectuals also articulated views of distinctively Táiwānese as opposed to Mainland Chinese cultural features that were revivified by proponents of the Táiwānization (běntŭhuà) move- ment in the 1980s. As laid out in chapter 1, the methodology of the thesis is based on the theory of the literary field formulated by the French sociologist Pierre Bourdieu. The literary scene is understood as a structure created by relationships between various agents who aim to attain the dominant position in the field by accumulating the largest amount of symbolic capital. This is defined as prestige by Bourdieu but should be understood as a combination of prestige and political clout in the Táiwānese context, as this dissertation will argue. To occupy the do- minant position enables agents to define Táiwānese identity, culture, and literature (especially vis-à-vis China)....

The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

L’exprérience d’enseignement et l’examen des mémoires en français des étudiants en Agroaliemtaire ont montré que nos apprenants produisaient souvent des phrases longues et peu compréhensibles à cause des erreurs morphosyntaxiques. En conséquence, les mémoires sont peu lisibles sur le plan linguistique. <p>De plus, nous remarquons des traces de la langue vietnamienne dans la production en français des étudiants. Or, les apprenants sont obligés de consulter les articles scientifiques en vietnamien de leurs enseignants lors de la préparation du mémoire. De plus, l’étude des articles montre que les auteurs formulent aussi des phrases très longues de plusieurs informations.<p>Ainsi, toutes ces constatations nous orientent vers une analyse contrastive des phrases longues en vietnamien des scientifiques avec celles trouvées dans les mémoires en français des étudiants. <p>Selon notre revue de littérature des recherches précédentes, des auteurs prédécesseurs mesurent la lisibilité d’un texte en se basant statistiquement sur la familiarité du vocabulaire, la longueur des mots, la longueur des phrases, ou la longueur des sous-phrases. <p>Toutefois, la mesure par le comptage du nombre de mots par phrase des auteurs semble inappropriée à notre travail par la différence des objectifs. <p>Nous avons donc essayé de trouver une unité de mesure de la longueur des phrases pertinente à notre propre corpus :« informations enchâssées ».<p>Selon les auteurs prédécesseurs, une phrase sera vue comme longue si elle contient plus de trois sous-phrases. Quant à nous, les phrases seront jugées longues si elles dépassent trois informations enchâssées. <p>Après la collecte des phrases longues, nous avons utilisé l’approche qualitative pour les analyser. Après l’analyse du corpus, nous avons obtenu des résultats suivants :la production des phrases longues ainsi que la présence des erreurs morphosyntaxiques dues à l’interférence du vietnamien constituent des caractéristiques typiques des mémoires des étudiants francophones à Can Tho. Ce sont ces traits représentatifs qui ont compromis la lisibilité des phrases de nos apprenants.<p>Face aux difficultés de nos apprenants, nous essayons de trouver quelques esquisses didactiques adéquates à notre propre public.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished