What makes a woman kill? And how does it feel to share a cell with a murderer?

Carla van der Spuy visits four correctional facilities for females across South Africa and gets inside the heads of women who committed violent crimes. She visits the babies born behind bars, celebrates Christmas with the inmates and chats face to face with women who killed with knives, guns and the help of hit men, as well as a cleptomaniac and a prostitute. Women with blood on their hands.

What went so terribly wrong in their lives? And is there a person behind the criminal?

Comprehensive in scope, this carefully crafted introductory grammar of Biblical Hebrew offers easy-to-understand explanations, numerous biblical illustrations, and a wide range of imaginative, biblically based exercises. The book consists of thirty-one lessons, each presenting grammatical concepts with examples and numerous exercises judiciously selected from the biblical text. These lessons are accompanied by eleven complete verb charts, an extensive vocabulary list, a glossary of grammatical terms, and a subject index. In this second edition Timothy Crawford has updated the text throughout while preserving the Page Kelley approach that has made Biblical Hebrew so popular over the years.

Unlike the metamorphosis that occurs to a butterfly or a frog, telling a story will probably not dramatically alter your character, physical structure, or even circumstances. However, as a storyteller, you can imagine it did. Anchored by the need to write about storytelling in a human way, So, What's Your Story? Discovering the Story in You weaves theory and practice while infusing exercises and examples to help demonstrate and support vital storytelling principles. The second edition of So, What's Your Story? is a multimedia masterpiece that includes access to online supplements at no additional charge. The online supplements include terrific audio and video story samples from former students, discussion friendly remarks from the author, and stories told by exceptional tellers who performed on Houston's KPFT So, What's Your Story?. So, What's Your Story? Discovering the Story in You: Features a flexible format instructors can teach confidently any chapter in any order creating their own segues and incorporating their own pedagogical style. Features new story samples in each chapter; all of which can be found on the online supplement, along with a brief remark about the learning principle with which each is associated. Integrates a set of new exercises within the text to encourage frequent and meaningful practice. Peppers story excerpts throughout the text from former students to boost the reader's comprehension and improve their overall storytelling performance.

This title presents the proceedings of the 2012 EUROCALL Conference.

As a professional organisation, EUROCALL has been aiming to promote innovative research, development and practice in the area of computer assisted language learning (CALL) and technology enhanced language learning (TELL) in education and training. These conference proceedings establish an overview of EUROCALL as it celebrated its 20th anniversary.

Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,3, Dresden Technical University (Amerikanische Kultur- und Literaturwissenschaften), course: American Film Comedies, 0 entries in the bibliography, language: English, comment: "Something's Gotta Give" / "Cactus Flower", abstract: This dialogue from "Cactus Flower" is very likely to catch the attention of a 21stcentury woman instantly because of its chauvinist, discriminating tone against women. It is very intriguing to find this conversation in a film which was shot in the so-called liberal sixties, and which raised the question to me whether patriarchal values are only detectable in older romantic comedies such as "Cactus Flower" (1969) or whether these values became obsolete in newer romantic comedies such as "Something's Gotta Give" (2003). In spite of the constant success of romantic comedies "There's Something about Mary" (2001), for instance, passed the "gold record line" of $100 million with flying colours little attention has been paid to analyzing this film genre. The few critics who analyzed and interpreted film comedies tend to focus on masterpieces and on auteur films such as "The General" by Buster Keaton, but they are likely to neglect romantic comedies. Therefore, this paper focuses deliberately on romantic comedies which are neither in the canon of masterpieces nor directed by an auteur. Interestingly, critics have not been able to agree on a final definition of romantic comedies, for which reason I chose to draw on Thomas Schatz's definition: Romantic comedies are "fast-paced, witty comedies of manners exploiting the foibles of America's leisure class" (Classical Hollywood Comedies 126). An additional characteristic of romantic comedies, is the fact that focus is put on the mating of the major characters, with the result that gender quarrels play a major role. Consequently, romantic comedies propose to the spectatorship how to find true love, and they c

A student’s avatar navigates a virtual world and communicates the desires, emotions, and fears of its creator. Yet, how can her writing instructor interpret this form of meaningmaking? Today, multiple modes of communication and information technology are challenging pedagogies in composition and across the disciplines. Writing instructors grapple with incorporating new forms into their curriculums and relating them to established literary practices. Administrators confront the application of new technologies to the restructuring of courses and the classroom itself. Multimodal Literacies and Emerging Genres examines the possibilities, challenges, and realities of mutimodal composition as an effective means of communication. The chapters view the ways that writing instructors and their students are exploring the spaces where communication occurs, while also asking \u201cwhat else is possible.\u201d The genres of film, audio, photography, graphics, speeches, storyboards, PowerPoint presentations, virtual environments, written works, and others are investigated to discern both their capabilities and limitations. The contributors highlight the responsibility of instructors to guide students in the consideration of their audience and ethical responsibility, while also maintaining the ability to \u201cspeak well.\u201d Additionally, they focus on the need for programmatic changes and a shift in institutional philosophy to close a possible \u201cdigital divide\u201d and remain relevant in digital and global economies. Embracing and advancing multimodal communication is essential to both higher education and students. The contributors therefore call for the examination of how writing programs, faculty, and administrators are responding to change, and how the many purposes writing serves can effectively converge within composition curricula.