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This article traces the origins of the familiar quotation, 'there is always something new coming out of Africa'. It demonstrates that the phrase was a proverb that originated in Greece no later than the fourth century BC. It charts the transmission of the phrase from Aristotle to the twentieth century, noting that Erasmus is the most important link in the Renaissance and that he may be responsible for the current form in which the phrase is used. The article also shows that the meaning of the phrase was very different in ancient times from what it is today. Whereas 'something new' to Aristotle meant strange hybrid animals, current writers use the phrase with a sense of admiration.
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The Peruvian writer Mario Vargas Llosa, one of the most prolific and distinguished Spanish American novelists of the twentieth century and the winner of the 2010 Nobel Prize in Literature, is also the author of eight plays, which have frequently been overshadowed by his narrative production. Going beyond the relationship traced by critics between his novels and his plays, this essay underscores the prevalence in his theatrical work of a tug of war between biographical and autobiographical voices as part of a fundamental exploration of real and fictional memory. From Vargas Llosa's early plays of the 1980s to his most recent ones, he has frequently dramatized the life of both real and imaginary, famous and infamous others and selves, creating the illusion that the audience is witnessing someone's life trajectory. This is the analytical angle from which this essay approaches not only Vargas Llosa's first play, La seorita de Tacna (1981), but in particular one of his most recent ones, Odiseo y Penélope (2007). In both analyses, the definitions of biographical and autobiographical discourses are interpreted in light of theatrical representation, underscoring in this way the subjective, dramatic, and metaphorical perspectives of these expressions. © 2012 Taylor and Francis Group, LLC.
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Vast and fast technological advancements mark the new millennium. New emerging technologies are changing the world and our society at a magnitude and scope never witnessed before. Who are our students in this new millennium? What do they look like? Are they a fundamentally different new generation as some claim, or do they still look similar to us in many ways? A clear understanding of the characteristics of our students is vitally important for our educational practice. The current study was conducted to contribute to this understanding. The findings of the study show that while students nowadays do enjoy a much broader access to new technology than students of the past, they still look similar to us in many ways. As educators, it is important for us to treat our students as individuals instead of just labeling them and placing them in a black and white dichotomy.
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Communicative approaches to language teaching that emphasize the importance of speaking (e.g., task-based language teaching) require innovative and evidence-based means of assessing oral language. Nonetheless, research has yet to produce an adequate assessment model for oral language (Chun 2006; Downey et al. 2008). Limited by automatic speech recognition (ASR) technology, which compares non-native speaker discourse to native-like discourse, most tests exclusively focus on accuracy while ignoring how examinees use language to make meaning. In order to offer stakeholders more trustworthy evidence of how examinees might use language in target language domains, a model anchored in systemic functional linguistics (SFL) is put forth. Specific examples are given of how SFL might be used to evaluate test task types, such as the story retell:three examinees' responses are contrasted using genre analysis (Derewianka 1990) and transitivity analysis (Ravelli 2000) in order to demonstrate elements in their linguistic profiles that ASR-based assessment would overlook. In so doing, implications are drawn regarding the potential of SFL models for enhancing automated scoring procedures by focusing on the meaning-form relations in the linguistic construction of narrative.
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