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Indiana University-Purdue University Indianapolis (IUPUI) / The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. Other candidates have been proposed, namely Thomas Dekker, Thomas Heywood, William Shakespeare, and John Webster. Past attribution studies have mainly focused on Shakespeare due to the fourth addition, the Painter’s Scene, which has been perceived to exhibit Shakespearean quality. John Nance’s lexical study of the fourth addition makes a most compelling case: Shakespeare’s hand is almost certainly present. Warren Stevenson, Hugh Craig, Brian Vickers, and Douglas Bruster have also supported an attribution to Shakespeare; however, their research errs in assuming a single author wrote all five of the additions. This assumption is disproven by Gary Taylor’s work on the first addition, which is the first to identify Heywood, not Shakespeare, as its likely author. Taylor’s conclusion emphasizes that the additions could embody revisions by more than one playwright, such as in the case of Sir Thomas More. Therefore, the authorship of the other additions must remain conjectural until further study. My thesis is the first to independently explore the third addition’s authorship, and based on lexical evidence, the following analysis disproves claims of Shakespeare’s presence within the third addition.

O presente estudo analisa dados obtidos através da pesquisa por meio do corpus linguístico que provam estatisticamente o estilo adotado por Machado de Assis. Através da frequência de palavras-chave, escolhas léxicas mais significativas de cada romance e de alguns contos, esse estudo analisou a forma do romancista em criticar a sociedade oitocentista do Rio de Janeiro. Os resultados mostraram a disposição do autor de censurar o cientificismo do século XIX, os anseios e desejos da burguesia, assim como os conflitos da alma humana e a problemática dos relacionamentos da sociedade carioca. Por meio dos dados obtidos, há uma observação do estilo do autor durante a fase romântica e durante a fase realista, assim como um estudo da função do leitor machadiano e a conexão desse com a estética da recepção.

This single case study explores education of multilingual learners (MLs) from Hispanic backgrounds in an urban inner city school. Using a single case study to answer the research questions was ideal because it allowed the researcher to investigate the school through an objective lens (Gomm, Hammersley, Martyn, & Foster, 2000). The main purpose of the study is to investigate the systems in place in a public school that prevent those students to reach their potential. Several factors have influenced this enlarging academic and achievement gap. Even though, Hispanic community making-up to 16.7% of the entire U.S. population and being the largest and fastest-growing minority group, reported by the U.S. Bureau of Labor Statistics (2011). Educating Hispanic children continues being a challenge. (Liu, C.-Y. A., & Liu, W.-H, 2012). However, with a growing number of Hispanic students in the US schools, it is imperative to improve their education and minimize those barriers. Using a single case study, this qualitative research focused on a single school in Boston where students Hispanic MLs students represents more than 50% of the schools’ population. The researcher visited classrooms and interviewed teachers to collect qualitative data. This information was later coded in themes to find trends and patterns affecting education of MLs. The researcher found that despite existence of several positive systems in place in the classrooms, such as knowledgeable teachers delivering sounds lessons, and strong systems to address family engagement, other factors are preventing students’ success. In effect, the results concluded existence of several opportunities to improve MLs education including changing language programs models and adding resources to be intentional in addressing MLs linguistic and academic needs.

Research has demonstrated that automated grammatical tagging is fast and accurate for both English and Spanish child language, but there has been no research done regarding its accuracy with bilingual children. The present study examined this topic using English and Spanish language samples taken from 254 children living in the United States. The subjects included school-aged children enrolled in public schools in the United States in grades 2, 3, or 5. The present study found high automated grammatical tagging accuracy scores for both English (M = 96.4%) and Spanish (M = 96.8%). The study suggests that automated grammatical analysis has potential to be a valuable tool for clinicians in the analysis of the language of bilingual children.

The purpose of this study was to develop, digitally record, evaluate, and equate Spanish trisyllabic words which could then be used in the measurement of the speech reception threshold. A selection of 90 frequently utilized trisyllabic words were selected and then digitally recorded by male and female talkers of Spanish and presented to 20 subjects with normal hearing beginning at 6 dB below their pure-tone average (PTA) and ascending in 2 dB increments until one of the following criteria had been met: (a) the participant responded correctly to 100% of the test items, or (b) the presentation level reached 16 dB HL. Using logistic regression, psychometric functions were calculated for each word. Twenty-eight trisyllabic words with the steepest psychometric function slopes were selected. To decrease the variability among the words the intensities were digitally adjusted to match the mean subject PTA (5.83 dB HL). The resulting lists included mean slopes at 50% threshold which ranged from 7.3 %/dB to 12.7 %/dB (M = 10.1) for the male talker recording and from 7.1 %/dB to 12.8 %/dB (M = 8.7) for the female talker. Digital recordings of the 28 final psychometrically equivalent trisyllabic words are available on compact disc.

Although English and Spanish both have the voiceless stops /ptk/, they differ in VOT; English has long-lag voiceless stops and Spanish has short-lag. This difference means that native English-speaking learners of Spanish are likely to transfer the long voice lag typical of their first language (L1) to Spanish voiceless stops. This study measured the VOT of 20 native English-speaking learners of Spanish, each with a length of residence (LOR) in a Spanish-speaking country of almost 2 years. The study participants were found to produce voiceless stops intermediate to the averages of their L1 (American English) and L2 (Spanish), with some speakers producing voiceless stops with the range observed for Spanish. A significant main effect on VOT was found for all the variables of linguistic context tested: place of articulation, word-initial vs. -internal position, stress, preceding segment and following segment. A significant main effect was also found for speech style, percentage of communication done in Spanish with native Spanish speakers while abroad, years of formal L2 instruction prior to stay abroad, and time spent each week speaking Spanish with native speakers since their return home. While the extra-linguistic variables are correlated with more target-like VOT, the amount of communication done in the L2 with other native English L2 learners of Spanish was correlated with longer VOTs, i.e. less target-like VOTs, possibly due to reinforcement of L1 transfer habits.

"Los heroes y Minerva en la narracion del libro de caballerias Cristalian de Espana de Beatriz Bernal" adds to the advancement of knowledge due to the novelty of the topic and findings that have been incorporated throughout this research. This work analyzes the first two volumes of the Cristalian de Espana, which is one of the few novels of chivalry written by a woman in Spain during the 16th century. The main objective of this investigation resides in exploring the role of hero in relation to the classic hero portrayed in chivalry novels using Amadis de Gaula as a point of reference, and the configuration of Minerva's image as the narrator's desire of a more accurate representation of women in the Early Modern Spain literature.

The Dido myth has evolved and been adapted by many cultures over the centuries. Each Dido was altered to fit the needs of its creator, their society and customs. Despite these variations, every Dido retelling is derived from the Virgilian Dido, historical Dido, or chaste Dido narrative, or a combination of these stories. The pasticcio opera, Ópera armónica al estilo italiano que se intitula Dido y Eneas draws on the general Virgilian plot but emphasizes the chaste Dido narrative. The changes in the plot of Dido y Eneas reflect societal gender norms, theatrical conventions, and historical figures, specifically Queen María Luisa Gabriela, from eighteenth-century Spain. The Dido of Dido y Eneas can be divided into two main personas: Dido the queen and Dido the lover. Her arias, which come from preexisting Italian operas, convey the dramatic text very well. However, no matter what persona Dido portrays, she never fully loses control nor lets her passions rule her actions. Even in the moments before her suicide, her aria, "Punta intrepida," lacks the overt emotionality found in the popular Dido lament made famous by Purcell. This thesis aims to situate Dido y Eneas within the history of the Dido narrative and gender conceptions in the early eighteenth century, and to analyze depictions of affect in Dido's da capo arias. This Dido is a product of her time, transforming the Dido myth to portray a regal queen who overcomes emotional desire and remains faithful to her deceased husband becoming a paragon of chastity.