Introduction |
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5 | (1) |
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6 | (1) |
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6 | (1) |
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6 | (1) |
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6 | (1) |
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6 | (1) |
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6 | (1) |
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Language in Cultural Context: An Overview Background |
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7 | (1) |
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8 | (2) |
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Pidgin and Creole Reception |
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10 | (1) |
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Gesture and Expression Reception |
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11 | (1) |
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12 | (2) |
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14 | (1) |
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What is Language? Background |
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15 | (1) |
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16 | (1) |
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17 | (2) |
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19 | (1) |
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Marking a Text Production |
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20 | (1) |
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21 | (1) |
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The History of English Background |
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22 | (2) |
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24 | (1) |
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25 | (2) |
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Analysis and Comparative Analysis Production |
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27 | (2) |
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29 | (2) |
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31 | (1) |
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32 | (2) |
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Language Acquisition Background |
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34 | (2) |
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36 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (2) |
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41 | (1) |
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42 | (2) |
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44 | (2) |
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46 | (1) |
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47 | (2) |
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Performativity Background |
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49 | (1) |
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Language and Mass Communication Background |
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50 | (1) |
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51 | (2) |
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53 | (1) |
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Light and Colour Reception |
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54 | (1) |
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Shape, Form and Texture Reception |
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55 | (2) |
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Working with Images Insight |
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57 | (1) |
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Space and Perspective Reception |
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58 | (2) |
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60 | (1) |
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Contrast, Repetition and Proportion Reception |
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61 | (1) |
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62 | (3) |
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65 | (1) |
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66 | (1) |
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67 | (2) |
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69 | (1) |
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Media Institutions Background |
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70 | (2) |
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Objectivity and Bias Reception |
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72 | (2) |
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74 | (1) |
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75 | (2) |
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Persuasion and Rhetorical Analysis Reception |
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77 | (1) |
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78 | (3) |
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81 | (3) |
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84 | (2) |
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86 | (2) |
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Political Campaign Reception |
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88 | (2) |
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90 | (1) |
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91 | (3) |
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94 | (1) |
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Oral Presentation Production |
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95 | (2) |
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The Future of English Issue |
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97 | (6) |
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Literature: Texts and Contexts-An Overview Background |
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103 | (1) |
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104 | (2) |
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106 | (2) |
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What is Literature? Background |
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108 | (2) |
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Thinking and Planning Insight |
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110 | (1) |
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Characterization Reception |
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111 | (1) |
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Generating Topics Production |
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112 | (1) |
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113 | (1) |
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114 | (1) |
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115 | (1) |
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Writing Fiction and Pastiche Production |
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116 | (3) |
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Nerves for the Oral and Commentary Problems Insight |
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119 | (1) |
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120 | (1) |
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121 | (2) |
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Individual Oral Commentary Production |
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123 | (3) |
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Metaphor and Allegory Reception |
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126 | (3) |
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Literary Research Production |
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129 | (3) |
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132 | (1) |
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Structuralism and Post-structuralism Background |
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133 | (1) |
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Point of View and the Narrator Reception |
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134 | (2) |
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136 | (1) |
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Close Reading and Commentary Production |
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137 | (3) |
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Reader Response Background |
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140 | (2) |
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Responding to Essay Prompts Production |
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142 | (3) |
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145 | (2) |
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147 | (1) |
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Meter and Rhythm Reception |
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148 | (1) |
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149 | (2) |
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151 | (1) |
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152 | (2) |
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Does Theory Matter? Insight |
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154 | (1) |
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Diction and Syntax Reception |
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155 | (1) |
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Allusion, Repetition, Metonymy and Synecdoche Reception |
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156 | (3) |
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159 | (3) |
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162 | (1) |
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Writing Paragraphs Production |
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163 | (3) |
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Post-Modernism Background |
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166 | (1) |
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Ambiguity and Paradox Reception |
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167 | (2) |
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169 | (1) |
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Further Oral Activity Production |
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170 | (3) |
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173 | (1) |
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The Short Story Reception |
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174 | (1) |
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New Historicism and Post-colonialism Background |
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175 | (1) |
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176 | (1) |
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177 | (2) |
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The Life and Times of the Author Issue |
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179 | (2) |
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Motif and Leitmotif Reception |
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181 | (1) |
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Intertextuality Reception |
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182 | (2) |
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184 | (1) |
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Context of Reception Issue |
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185 | (3) |
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The Graphic Novel Reception |
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188 | (1) |
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Context of Production Issue |
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189 | (1) |
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Knowledge and Truth Issue |
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190 | (2) |
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Fantasy and Science Fiction Reception |
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192 | (2) |
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The Stage (not the page) Reception |
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194 | (2) |
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Social Critique, Power and Power Struggles Issue |
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196 | (1) |
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Set and Staging Reception |
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197 | (11) |
Index |
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208 | |