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Full-Text Articles in Modern Languages
The Cool Medium. The Global Pedagogy Of Eportfolio In The Foreign Language Classroom, Giulia Guarnieri
The Cool Medium. The Global Pedagogy Of Eportfolio In The Foreign Language Classroom, Giulia Guarnieri
Publications and Research
The student-centered and integrative pedagogy of ePortfolio finds perfect applicability in the foreign language classroom. In contrast, textbooks for Italian language elementary courses, for the most part, implement a traditional and grammatical based methodological approach which hiders the process of ePortfolio integration which instead places greater emphasis on global and integrative pedagogy. The study discusses the implications these factors hold in preparing foreign languages instructors to use ePortfolio technology underlining its role as a cool medium which provides meaningful impact on student learning and participation
Sins, Sex, And Secrets: The Legacy Of Confession From The Decameron To The Heptaméron, Nora Martin Peterson
Sins, Sex, And Secrets: The Legacy Of Confession From The Decameron To The Heptaméron, Nora Martin Peterson
Department of Modern Languages and Literatures: Faculty Publications
A quick digital search for the term ‘confession’ in Boccaccio’s Decameron yields 75 results (Decameron Web). Confession in Boccacio’s text is conspicuously present and, I argue, not coincidental: it highlights the increased attention to the sacrament after the Fourth Lateran Council made annual confession mandatory in 1215. Decameron 1.1 depicts a false confession performed by a wicked man on his deathbed. His confessor follows the protocol of confession manuals, which began to appear in increasing number following 1215, but his interpretive skills do not extend beyond the questions he is bound by protocol to ask. In Boccaccio’s world, …
Dans La Serre: Framing The Greenhouse In Le Jour Se Lève (1939) And La Règle Du Jeu (1939), Barry Nevin
Dans La Serre: Framing The Greenhouse In Le Jour Se Lève (1939) And La Règle Du Jeu (1939), Barry Nevin
Articles
Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné’s Le Jour se lève (1939) and Jean Renoir’s La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with reference to the writings of André Bazin and Gilles Deleuze; second, it situates Carné and Renoir’s greenhouses within their respective dramatic, aesthetic and political contexts. In both cases, the …