Multiword Expressions (MWEs) are crucial aspects of language use. Second language (L2) learners need to master these MWEs to be able to communicate effectively. In addition, mastering these MWEs helps L2 learners improve their cognitive processing of language input. In this study, my primary objectives were to explore the effectiveness of using Textual Enhancement (TE) to assist L2 speakers’ comprehension of MWEs, to explore whether there is a difference in comprehension between collocations and idioms, and finally, to explore how L2 speakers transact the MWEs’ meanings as presented in texts. While several researchers have explored how input enhancement in general helps L2 learners to learn collocations and idioms for productive use (e.g., Boers et al., 2017; Pam & Karimi, 2016), my focus in this study was to understand and explain in depth how the technique of TE helps L2 learners comprehend MWEs. I included in this study two types of MWEs: collocations and idioms. I also studied the differences in the comprehension between these two types to further understand the transparency factors in the comprehension process. I employed an explanatory sequential mixed methods design in which I used experimental quantitative methods and qualitative methods in one study. In phase one, I started with the experimental part and followed with the qualitative analysis to explain in depth the outcomes of the experimental part. In the qualitative section, I followed an explanatory descriptive case study approach to obtain a deeper understanding of how the participants transacted the meanings of the MWEs. A total of 26 adult Arabic-speaking students in a major Southeastern university in the United States of America volunteered to take part in this study. I collected data through: (1) a reading proficiency test, and (2) a brief survey to gather background information, self-evaluation of language proficiency, and previous experiences with MWEs. In the experimental part, I presented 20 paragraphs derived from online newspaper and magazine articles. Each paragraph contained a collocation or an idiom. Following each paragraph, I presented multiple-choice questions to measure the comprehension of the MWE in the paragraph and an open-ended question for the participants to describe how they had comprehended the MWE. I divided the participants into control and experimental groups in which the MWEs were textually enhanced in the experimental group using bolding, italicization, and highlighting. The results of the study demonstrated TE was effective in assisting the participants to comprehend idioms. In contrast, TE did not show a significant effect in leading the participants to comprehend the collocations. The qualitative data analysis showed the participants used contextual factors, guessing, constituents of the MWEs, and similarities of the MWEs with the first language (L1) as the major strategies to comprehend the MWEs meanings with different degrees between both groups.

The Imprints of Performance is motivated by a longstanding interest in the fundamental interpretive challenges that face readers of printed plays. Reading a playtext is a means of dramatic realization that is absolutely unlike live performance, and it is not without good reason that theoretical formulations of page and stage tend to stress the incompatibility of the two modes. Without denying that printed plays distort and fragment performance practice, my dissertation negotiates an intractable debate by shifting attention to points of intersection in the rich printed and performance histories of Shakespeare's plays. I detail how editors of Shakespeare encode for information that could otherwise only be communicated in performance, how, via ancillaries such as critical introductions, emended stage directions, and performance commentary, editors facilitate a reader's ability to imagine performances. Central to my engagements with the informational structures of the edited page is the term performancescape, a textual representation of performance potential that gives relative shape and stability to what is dynamic and multifarious. I deploy performancescape in relation to editions ranging from the earliest extant quartos and folios to digital editions powered by hypertext. In analyzing formative editions from Shakespeare's long textual history, I highlight instances where the malleability of the printed page renders awareness of performance an integral, and in some ways unavoidable, condition of the reading experience.

Tomando como base el Codex Valentianus, único manuscrito español de Lucrecio, se plantea una revisión del texto del autor, comparándolo con los manuscritos Oblongus y Quadratus de Leyden y con las ediciones existentes del de rerum natura.

This paper consists of the different components of the introduction to “The Wanderer: a Hypertext Edition” presently housed on the server of the University of Saskatchewan’s Digital Research Centre. All the contents of this paper are available as part of that edition, although in a somewhat different format. This thesis contains two parts: the general introduction concerns the poem’s contents, context, and manuscript circumstance while the editorial introduction argues the rationale for this edition and the particulars of my editorial decisions. The editorial introduction explores how the single extant manuscript witness of “The Wanderer” has been inaccurately represented in transcription as well as the importance of transparency in one’s choices as an editor. The editorial introduction explains how this edition’s principles of transparency and interpretation over authority are based on clear objectives that were made after a survey of scholarly resources freely available on the web that revealed a great need for a freely available critical edition. These principles inform the edition’s rationale and specific editorial choices. The product of such an introduction is an edition that presents its editorial decisions in a transparent manner so that the user can distinguish between aspects of the text present in the document and those introduced by the editor.

This dissertation uses the textual materials found in several villages in Pingnan, northeastern Fujian, from 2008 to 2011, to examine the use of texts in rural China during the imperial period. The discussion focuses on the texts produced by local people and used locally. The central theme of the dissertation is to contextualize the rise of textual culture and the spread literate mentality in a marginal society, and explore the relationship between text and society. The dissertation consists of two major parts. Part I covers the period when Pingnan was the northern part of Gutian County, and Part II covers the period around and after the establishment of Pingnan County in 1734. Part I consists of three chapters. Chapter 1 traces the early textual practices in northern Gutian during the Song-Yuan period, and suggests a local perspective of textual culture. Chapter 2 discusses the establishment of official documentation system in the early Ming and its influence on local communities and the production of local texts. Chapter 3 uses a case of a rising family in the late Ming to illustrate the use of textual construction to promote one's social and cultural status. Part II consists of four chapters and each chapter investigates the use of texts in one realm of village life. Chapter 4 starts with the penetration of genealogy compilation and the transformation of social structure. Chapter 5 discusses the political background for the proliferation of stone stelae and other "texts for public display." Chapter 6 examines various kinds of textual materials used in economic activities, from managing lineage properties to land-exchanges and long-distant trades. Chapter 7 explores the creation within the transmission of ritual texts and their responses to the changing requirement of ritual performance. In the conclusion, this dissertation discusses the significance of textual culture in the general transformations and social integrations in northeastern Fujian, and also reconsiders the question of "literacy" in the context of local society. / East Asian Languages and Civilizations

The Imprints of Performance is motivated by a longstanding interest in the fundamental interpretive challenges that face readers of printed plays. Reading a playtext is a means of dramatic realization that is absolutely unlike live performance, and it is not without good reason that theoretical formulations of page and stage tend to stress the incompatibility of the two modes. Without denying that printed plays distort and fragment performance practice, my dissertation negotiates an intractable debate by shifting attention to points of intersection in the rich printed and performance histories of Shakespeare's plays. I detail how editors of Shakespeare encode for information that could otherwise only be communicated in performance, how, via ancillaries such as critical introductions, emended stage directions, and performance commentary, editors facilitate a reader's ability to imagine performances. Central to my engagements with the informational structures of the edited page is the term performancescape, a textual representation of performance potential that gives relative shape and stability to what is dynamic and multifarious. I deploy performancescape in relation to editions ranging from the earliest extant quartos and folios to digital editions powered by hypertext. In analyzing formative editions from Shakespeare's long textual history, I highlight instances where the malleability of the printed page renders awareness of performance an integral, and in some ways unavoidable, condition of the reading experience.

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This discussion is based on a word by word comparison of the source document and the translation throughout the 1364 verses of the book. The conclusions drawn are: 1. the translator's main aim was to present the sense of his Hebrew Vorlage without change, and to do so in a readily accessible presentational style. The evidence on which this conclusion is based is the presence of two co-existing forms of translation throughout: (i) almost always literal, in presentation of the sense. The few points at which the sense is modified almost all pertain to the theme of the movement from the Temple- and sacrifice-based pre-exilic religion to a prayer-based religion compatible with exile; (ii) often non-literal, stylistically, in pursuit of the precise and intelligible presentational style. When the translator wished to add lexical items, breaking the constraints of quantitative literalism so as to increase the precision of expression, he did so. 2. Comparison of earlier with later mss. shows that these characteristics are to be found not only in the work of the translator, but also in the work of later editors: evidently those editing the Peshitta mss. valued the presentational style sufficiently to impose it on the text even though they knew that by so doing they were likely to lessen the correspondence between that text and the Hebrew Vorlage. 3. The Vorlage was probably a document almost but not quite at the end of the process of recension which led to the formulation of MT: a group of minuses in which LXX and the Peshitta agree against MT, occurring at points of the Hebrew text where textual criticism suggests some underlying problem, constitute the evidence on which this conclusion is based. 4. The translator's approach to the choice of lexical equivalents is that of one who enjoyed exercising literary initiative. 5. There is no evidence that more than one translator was involved. 6. Future work, assessing the literary style of the Peshitta as a whole, is suggested to throw light on the puzzle of the incompatibility of the Peshitta to Isaiah and to Psalms with the classification of the other books of the Peshitta according to the characteristics of the translation technique.

Demystifying the Commodification of Social Relations in the Ontario Child Protection System: A Marxist Approach to Textual Analysis Susan Elizabeth Preston Doctor of Philosophy Faculty of Social Work University of Toronto 2013 In the space of quiet and disquiet, another read is possible. Abstract Capitalism invades all aspects of society, including the welfare state. Capitalist notions of the market appear to be encroaching into social services, wherein we see the “businessology” of social work; however, little empirical attention has been given to how capitalism appears to be replicated within social services. This research aims to make the invisible visible in order to agitate for radical change in the organization and practice of social service provision. In this inquiry, focusing on the child protection system in Ontario I examine some of the documentary actualities of the ruling apparatus of regulated parenthood and childhood by exploring the textualities of the state. Specifically, through the critical lens of Marxism and feminism, and drawing on my own experience of a classed and gendered world, I critically deconstruct the regulatory texts closest to the state, the legislation of the Child and Family Services and the regulations that expand the legislative intent. I also explore the procedural document of the Ontario Risk Assessment Model as an enacted text that operationalizes the legislation and regulation. By reading and re-reading these texts, at the surface but also above and below the surface, positioning the documents in context and recalling my social work practice, I seek answers to questions of how texts replicate capital, and commodify social relations through the ruling apparatus of the state. This work queries how the text itself in its active use of language has implications for social work, in practice, in research and in education.