Individuals with autism often display rote and repetitive responding across behavioral topographies. One area that is often affected is the individual’s verbal repertoire. In an attempt to build and expand verbal repertoires, script and script fading procedures have often been implemented to teach individuals new and varied verbal behavior. Script training and fading procedures have also been used specifically to remediate deficits in an individual’s mand repertoire. Researchers have examined the effects of script training and fading procedures on the variability within an individual’s mand repertoire. This line of research is of great importance since a lack of variability in mands can limit an individual’s access to desired and/or needed items as well as social interactions. In the present study, we implemented simultaneous script training and fading procedures to increase the variability of mands used by three preschool-aged children (one male and two females) diagnosed with autism. We implemented these procedures in an attempt to promote mand variability using antecedent only procedures and to teach variability explicitly in our script training and fading preparation. It was also our goal to address some of the limitations that arose in the previously conducted mand variability studies, namely, the suppression of the default mand frame. At the conclusion of the study, and following procedural modifications, all three participants demonstrated an increase in variability of mand frames. This increase was observed following the inclusion of extinction procedures and following low levels of variability while using antecedent-only procedures. Participants in this study demonstrated an average of one mand frame following antecedent-only procedures and this increased to an average of three mand frames following the inclusion of extinction procedures. The combination of the antecedent procedures and extinction further increased variability across participants. The need for the extinction condition led to many limitations in this study including the limitations analyzed in the simultaneous script training and fading procedures.

My Perfect Little Doll tells the story of a fourteen year old girl, Jenny, who lives with her adopted parents and has a fascination with dolls. Her father is a troubled man who suffers from violent mood swings due to a work-related injury. He blames the world for his ailments. Jobless and home-stricken, Jenny's father is a frustrated individual who has built up anger and resentment over the years. Without proper medication, his problem becomes severe. His mood swings lead to abusive behavior toward shy Jenny, who constantly blames herself for her father's abusive ways. Through a flashback, we learn of the special relationship that Jenny has with Laura, a classmate. Laura feels a duty to help the powerless, which leads her into a friendship with Jenny. Eventually, Jenny invites Laura to her house to seek comfort during times of chaos. Upon arrival, Laura sees one of Jenny's father's violent mood swings and his ability to slip into abusive behavior. Eventually, Laura witnesses Jenny's father's physical abuse on Jenny and tries to convince her to leave. However, Jenny is torn between the love for her father who can be a loving, gentle man, and her own need for safety. This story weaves its tale with a mixture of pathos and hope. Based on a true story, this film draws from the multileveled emotions that the situation contains. The drama is framed in reality, where even the monsters have hearts. We learn that it is the victim as much as the perpetrator who denies the problem. But what will the victim do when offered a chance to escape...?

Khitan Language, as being used as an official language in Liao Dynasty during 10th to 12th century in Northern China contains some features of influence of Chinese Language. By studying the Sino-Khitan transcription, features of Sino-Khitan phonology can be found. These features include: Voiced initial consonants had been devoiced into voiceless aspirated for ping tone, voiceless unaspirated for non-ping tone; Chinese labial-dental initials had been differentiated from Chinese bilabial initials; Alveolar affricates does not exist in Khitan language but were borrowed from Chinese. Unaspirated [ts] was represented by new-invented YZ graph, while aspirated [tsʰ] was merged into [s] and represented by the same YZ graph as [s]; Nasal initial [ŋ] and finals with nasal coda [-ŋ] in Khitan language are borrowed from Chinese; Chinese final [ɨ] is a not a native sound in Khitan language and new YZ graph was specificly invented for this acquired sound. It is mostly used to transliterate zi-si (资思)rhyme of Middle Chinese. By comparing Sino-Khitan phonological features with that of Northern Mandarin, it is to be found that the two system share many phonological characteristics. However, Tangut language, which was used in northwestern China and its geographic area is currently belong to Northern Mandarin speaking area, has many different features in some essential perspectives. The relation between the Sino-Khitan and Chinese language is very close which suggests that the development of Khitan language may be one of the important steps of Northern Mandarin development.

During Japan’s Edo period (1600-1868), popular literature began to take on a variety of physical formats and develop into various genres. Because many authors of this period were familiar with and producing creative works in a number of these genres, there was much crossover of content, format, and style. Authors were experimenting and playing with different ways to represent and give information about their characters through devices such as the dialogue they wrote, the illustrations included in the works, asides in the images, and many more. In this thesis, I explore the myriad ways authors of Edo period popular fiction employed creative visual and textual techniques to present authentic, realistic characters, focusing on the script itself: kana and kanji,ruby (glosses), page layout, text size, diacritical marks and other non-character markings, and spelling, etc. I have separated the period into three chronological sections: 1600-1750, 1751-1804, and post-1804. In the first section, I discuss how the early Edo kanazōshi (“kana booklets”) incorporate content and visual elements that are developed in later works. Because the genre label kanazōshi is arbitrary and inadequate, these books can be seen as a jumping off point for many of the later popular fiction genres. I then describe the connection between the kanazōshi and the ukiyozōshi (“books of the floating world”), showing that the authors’ creation of humorous yet (to varying degrees,) accurate character types seen both in the main and minor characters was directly influential on later works. In the second section, I discuss issues with the term “genre” as applied to Edo period fiction and examine the burgeoning visual techniques used by authors in dangibon (“sermon books”), kibyōshi (“yellow cover books”), and sharebon (“books of wit and fashion), ultimately showing that Inaka shibai (1787), though labeled a sharebon, operates as an inter-genre bridge between this literary incubation period and the post-1804 genre kokkeibon (“funny books”). In the final section, I look closely at the more fully developed techniques used in the kokkeibon in order to show an evolution in the representation of dialogue in this latter stage of development.

Author: Frida Nordborg Title: It’s not hard to have sex, but it’s hard to have good sex, consent is essential’’ An interview study about women’s experiences of sex and sexual consent in practice. Sexual consent requires that you know what you want, that you want it on your own terms, and that you must be able to communicate it clearly. Previous studies show that more women than men agree to sex without consent. As a result of #Metoo movement in 2017, and the updated consent law in Sweden in 2018, more women in Sweden have started to talk about their experiences of sex and sexual consent. The aim of the study has been to gain an insight into how adult women in Swedish society relate to the expectations placed on them in their sexual relationships and about their view on sexual consent based on their ascribed sexual scripts as well as how their sexual consent manifests itself in practice. The collected material has then been analyzed based on gender theory and sexual script theory. The results show that women's views on sex and sexual consent do neither always match with each other nor how they practice it, nor how they express their will in the heat of the moment. It is understandable that the women can feel limited by what they "should" do at the moment, instead of being able to show what they really want, in fear of disappointing their male partners.

Bakgrund: Inom palliativ vård finns det riktlinjer för att sexualitet skall föras på tal och bör beaktas i arbetet. Tidigare forskning visar att inkluderingen av sexualitet och intimitet i vården är bristfällig. Det är tydligt att kärleken och relationerna blir påverkade vid en sjukdomsdiagnos. Syfte: Syftet med denna studie är att belysa närståendes upplevelser av intimitet och sexualitet under tiden deras partner är döende och synen på information från sjukvården. Metod: Studien har en kvalitativ design med induktiv ansats. Det empiriska materialet inhämtades genom sju semistrukturerade intervjuer med sju kvinnor som varit närstående till en partner som varit döende och dött. Intervjuerna gjordes i södra Sverige. Intervjuerna analyserades med en kvalitativ innehållsanalys. Resultat: Resultatet är indelat i olika teman. I avsnittet Jag kände mig som ett naket vårdbiträde beskriver intervjupersonerna sin upplevelse av anhörigvård. I Inte nog med att jag skall dö, jag kan inte ha samlag beskriver de förhållandet och hur det påverkats av sjukdomen. I Jag var ju ung och hade mina behov beskriver intervjupersonerna sin egen sexualitet under tiden partnern var sjuk samt tiden efter. I Sexualitet är relevant, väldigt relevant beskriver kvinnorna sina upplevelser av den information från sjukvården som de har fått kring sexualitet och intimitet. Slutsats: Närstående behöver mer stöttning kring hur sjukdomsdiagnoserna påverkar sexualiteten och intimiteten för att ha en god relation med sin partner. Sjukvården behöver även öppna upp för att våga tala med sina patienter om den biverkan som behandlingar ger på sexualiteten.

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Acquired apraxia of speech (AOS) is a type of motor speech disorder (MSD) characterized by deficits in the motor planning or programming of speech movements (Duffy, 2005). Because AOS is often a chronic condition that may severely impair intelligibility and, thus, significantly reduce quality of life (Ballard et al., 2015), it is necessary to develop efficient and effective treatment protocols. A previous study by Youmans, Youmans, and Hancock (2011), demonstrated the efficacy of script training in the treatment of AOS. Furthermore, extensive research in general motor learning has shown that feedback is one of the most important components of motor learning (Schmidt & Lee, 2011). Research devoted specifically to speech motor learning has generally favored this view, though few studies have distinguished between the two major types of feedback: feedback providing knowledge of results (KR) and feedback providing knowledge of performance (KP). The present study is the first to examine feedback type in treatment for AOS, and the first to examine the utility of script training specifically for a participant with AOS, but no aphasia. The findings from this single-case experimental design study reveal that, compared to KR, KP resulted in greater improvements in speaking rate. KR and KP feedback resulted in comparable gains for accuracy, but condition differences were difficult to interpret due to unexpected rising baselines for the KR scripts. Both KR and KP scripts, but especially the KP scripts, outperformed the untreated control scripts, providing further support for the efficacy of script training for AOS. / Communication Sciences

A struggling actress and single mother is cast in a leading role by a renowned director seeking women who have bodies without blemish, triggering a harrowing on-set odyssey that reaches a predatory boiling point.