This edited book documents practices of learning-oriented language assessment through practitioner research and research syntheses. Learning-oriented language assessment refers to language assessment strategies that capitalise on learner differences and their relationships with the learning environments. In other words, learners are placed at the centre of the assessment process and its outcomes. The book features 17 chapters on learning-oriented language assessment practices in China, Brazil, Turkey, Norway, UK, Canada, Japan, Saudi Arabia, and Spain. Chapters include teachers' reflections and practical suggestions. This book will appeal to researchers, teacher educators, and language teachers who are interested in advancing research and practice of learning-oriented language assessment.

Of the five major Shakespearean tragedies-Hamlet, Macbeth, Romeo and Juliet, King Lear, and Othello-King Lear is perhaps the most challenging. Issues of rulership, family and blood, are overlaid with bastardy, loyalty, lust, and deceit. Add to this the apparently gratuitous on-stage blinding of Gloucester, the deaths of Cordelia, Lear, Gloucester, and Kent, and one might be inclined to agree with Samuel Johnson that "The good suffer more than the evil, that love and suffering, in this play, are almost interchangeable terms and the driving force of the action is derived from the power of the evil to inflict mental agony upon the good" (quoted in Kermode, 505). However, one would be mistaken to accept wholeheartedly the happy endings of the eighteenth and nineteenth century revisionists. While the pleasant ending would certainly ease the sensibilities of the audience, it would omit the Aristotlean concepts of hamartia and the purgation of fear and pity attendant upon actually witnessing Shakespeare's King Lear, the necessary catharsis, a possible scapegoat for our own emotions. Of course, the ending is to some extent unpleasant and even shocking; however, one can argue that the ending is organic to the play; the ending IS, to a great extent, the play.

A Handful of Love is a book of Haiku poetry. The poems are not arranged in any particular order, yet, their individual and collective power, beauty and enlightenment are undaunted by their non-traditional arrangement. This book is perfect for individual, group and even classroom readings. Not only is it well suited for personal entertainment and enlightenment, but many of the short compositions found in it are perfect for group and/or class discussions. Unquestionably this book has the potential to revive the lost arts of reading, writing and simply enjoying Haiku poetry. Unique in its approach as well as in the topics it covers, this is a book that individuals of every age can read, enjoy, love and pass on.

En cu ntas ocasiones te has preguntado: Puedo ser poeta? C mo lograrlo? Ser sencillo o complicado? ..".me gust mucho hacer poes a, es muy lindo porque puedes expresarte y a la misma vez hacer arte." TESTIMONIO 1 "Se me hace una forma muy bonita de expresarse y de ense arnos a hacer poes a...." TESTIMONIO 2 "Fue una bonita experiencia, el inspirarme y dejar fluir mis sentimientos de amor y tristeza...." TESTIMONIO 3 "Me gust la manera en que explica la forma de hacer una d cima y como lo detalla...yo no sab a y pens que no podr a." TESTIMONIO 4 La poes a es creaci n porque a trav s de ella logras que cobren vida tus emociones, pasiones, vivencias que deleitan tus sentidos y despiertan tu sensibilidad, te permite plasmar tus momentos de alegr a, de locura, de amores truncados, de fantas as, etc. Para ser poeta s lo necesitas un l piz, un pedazo de papel o tu procesador de textos y apoyarte con la t cnica para escribir. En este libro encontrar s consejos a trav s de una t cnica sencilla para elaborar tus poes as en "d cima espinela," una forma f cil para compartir la verdad de tu ser a compa eros, familiares, amigos, alumnos, etc.

This book explains the emotion concepts of the Ibans, one of the indigenous peoples in Sarawak, Malaysia. It is an outcome of a research study, which aims to analyse the Iban emotion concepts utilizing Natural Semantic Metalanguage (NSM), an analytical tool developed by Anna Wierzbicka (1991), and the concrete/abstract cultural continuum framework, a framework introduced by J. Vin D'Cruz and G. Tham (1993), and later, J. Vin D'Cruz and William Steele (2000). NSM enables emotion terminologies in Iban to be explicated and further defined along the concrete/abstract cultural continuum framework. The respondents of this study were the village community of Sbangki Panjai, a longhouse located in Lubok Antu, Sarawak. The findings reveal the core cultural values that underlie the people's behaviours in the ways they express their emotions. The complex 'rules of logic' called "adat" and the rules of speaking in this speech community are discussed in detail in this book, which explain the Ibans' communicative behaviours. Although the semantic analysis of the emotion words is exhaustive and comprehensive, it is necessary in order to reveal the complete meaning of the emotions being examined without creating ethnocentric bias. Thus, this book essentially describes how the Ibans relate themselves to others in their interaction.

Entrepreneur and Customer Service Guru Redman Folgate is mysteriously found dead in his mountain retreat. Has been journalist Rock Hardstuff is coincidentally on the scene and decides to solve the murder to redeem his career. Rock must weave his way through a myriad of bizarre characters before he can solve the Who Dunnit with a How Dunnit and so much more. Who Killed Customer Care? uses a comedy murder mystery allegory to explain the secrets of Customer and Client Communication.

Of the five major Shakespearean tragedies-Hamlet, Macbeth, Romeo and Juliet, King Lear, and Othello-Macbeth is in some ways the most accessible. For one it is the shortest. For another the witches continue to attract audiences just as they did during Elizabethan times. In addition he cinematographic approach of the last act-cutting easily from scene to scene-works as well as it did in Shakespeare's time. Thus, the play is a natural to introduce students to the Shakespeare canon. Probably it doesn't rival Romeo and Juliet in popularity with students or Julius Caesar with teachers, but nevertheless it is a finished, representative work of the best of William Shakespeare. In addition the main theme-ambition-one which is relevant to Americans today, can be witnessed again and again, especially during our quadrennial presidential elections. "I have no spur to prick the sides of my intent," Macbeth muses; there are those seeking to attract the public eye for whom this statement applies equally well. I cannot say I enjoyed reading Macbeth the first time. It was an assignment and, as do many students, I disliked having to read the play. However, over the years of teaching the play and re-reading it-by choice-I have come to regard the play with respect and simultaneously admiration for the playwright. The play communicates its own special numen. Macbeth is the most tightly unified of the Shakespearean tragedies, and it is filled with major themes-ambition, definition of character, allegiance to one's state and king- and some which may be regarded as minor-sleep, drink, and humor. None of them could be sacrificed as together they make a unity of approach meant to satisfy the general audience and the groundlings. As one who has a foot in both camps, I believe the play is a masterpiece.