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.

A Practical Guide to Writing a Ruth L. Kirschstein NRSA Grant provides F-Series grant applicants and mentors with insider knowledge on the process by which these grants are reviewed, the biases that contribute to the reviews, the extent of information required in an NRSA training grant, a deeper understanding of the exact purpose of each section of the application, and key suggestions and recommendations on how to best construct each and every section of the application.

A Practical Guide to Writing a Ruth L. Kirschstein NRSA Grant is a solid resource for trainees and their mentors to use as a guide when constructing F30, F31, and F32 grant applications.
Covers F30, F31, and F32 grant applicationsDetailed overview of the review process Key suggestions on how to best construct each section of the applicationIncludes a checklist of required items "

This book is the "greatest hits" compilation of more than one hundred Russian books, journals, papers, and articles. It contains more than fifteen thousand key Russian economic, legal, medical, military, political, scientific, and sociological terms and colloquial phrases. It also contains important abbreviations. One look will convince you, the student or interpreter, of the value of this work

The terminology in medieval Hebrew medical literature (original works and translations) has been sorely neglected by modern research. Medical terminology is virtually missing from the standard dictionaries of the Hebrew language, including Ha-Millon he-hadash, composed by Abraham Even-Shoshan. Ben-Yehuda's dictionary is the only one that contains a significant number of medical terms. Unfortunately, Ben-Yehuda's use of the medieval medical texts listed in the dictionary's introduction is inconsistent at best. The only dictionary exclusively devoted to medical terms, both medieval and modern, is that by A.M. Masie, entitled Dictionary of Medicine and Allied Sciences. However, like the dictionary by Ben-Yehuda, it only makes occasional use of the sources registered in the introduction and only rarely differentiates between the various medieval translators. Further, since Masie's work is alphabetized according to the Latin or English term, it cannot be consulted for Hebrew terms. The Historical Dictionary of the Hebrew Language, which is currently being created by the Academy of the Hebrew Language, has not been taken into account consistently as it is not a dictionary in the proper sense of the word. Moreover, consultation of this resource suggests that it is generally deficient in medieval medical terminology. The Bar Ilan Responsa Project has also been excluded as a source, despite the fact that it contains a larger number of medieval medical terms than the Historical Dictionary. The present dictionary has two major objectives: 1) to map the medical terminology featured in medieval Hebrew medical works, in order to facilitate study of medical terms, especially those terms that do not appear in the existing dictionaries, and terms that are inadequately represented. 2) to identify the medical terminology used by specific authors and translators, to enable the identification of anonymous medical material.

This interdisciplinary study explores how US Mexicana and Chicana authors and artists across different historical periods and regions use domestic space to actively claim their own histories. Through "negotiation"-a concept that accounts for artistic practices outside the duality of resistance/accommodation-and "self-fashioning," Marci R. McMahon demonstrates how the very sites of domesticity are used to engage the many political and recurring debates about race, gender, and immigration affecting Mexicanas and Chicanas from the early twentieth century to today. Domestic Negotiations covers a range of archival sources and cultural productions, including the self-fashioning of the "chili queens" of San Antonio, Texas, Jovita Gonzalez's romance novel Caballero , the home economics career and cookbooks of Fabiola Cabeza de Baca, Sandra Cisneros's "purple house controversy" and her acclaimed text The House on Mango Street , Patssi Valdez's self-fashioning and performance of domestic space in Asco and as a solo artist, Diane Rodriguez's performance of domesticity in Hollywood television and direction of domestic roles in theater, and Alma Lopez's digital prints of domestic labor in Los Angeles. With intimate close readings, McMahon shows how Mexicanas and Chicanas shape domestic space to construct identities outside of gendered, racialized, and xenophobic rhetoric.

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.