* Features/Benefits o Provides a hands-on methodological guide and overview for understanding the data/results of longitudinal research in SLA/applied linguistics and for conducting one's own such studies, illustrating these methods with exemplary studies of language learning outcomes over a long term. o Original reportings of unique large-scale research studies offer the best one-stop shop for reading and understanding current quantitative longitudinal studies in language learning. o Appendices with data and pedagogical features make it useful for course use by instructors and students. * Demand/Audience o Meets the need for methodological clarity in collecting, managing/organizing, and analyzing quantitative longitudinal data on language learning by offering students and researchers of applied linguistics, testing, and education a practical guide to conducting this research along with unique exemplar studies. * Competition o The only book to focus on quantitative longitudinal data analysis specifically for an SLA/applied linguistics readership. One older book focuses on qualitative and other methods with a narrower focus, and no other book comes very close to doing what this book does.

* Features/Benefits o Provides a hands-on methodological guide and overview for understanding the data/results of longitudinal research in SLA/applied linguistics and for conducting one's own such studies, illustrating these methods with exemplary studies of language learning outcomes over a long term. o Original reportings of unique large-scale research studies offer the best one-stop shop for reading and understanding current quantitative longitudinal studies in language learning. o Appendices with data and pedagogical features make it useful for course use by instructors and students. * Demand/Audience o Meets the need for methodological clarity in collecting, managing/organizing, and analyzing quantitative longitudinal data on language learning by offering students and researchers of applied linguistics, testing, and education a practical guide to conducting this research along with unique exemplar studies. * Competition o The only book to focus on quantitative longitudinal data analysis specifically for an SLA/applied linguistics readership. One older book focuses on qualitative and other methods with a narrower focus, and no other book comes very close to doing what this book does.

This book analyses oral proficiency interviews, a mainstay of second language speaking proficiency assessment for several decades. Adopting a mixed-method perspective involving micro-analytic approaches, discourse analysis and quantitative methods such as multi-level modeling and event history analysis, the author focuses on interaction and discourse processes common in language assessment interviews. This innovative book will appeal to students and scholars of language assessment, conversation and discourse analysts, as well as practitioners and providers of oral proficiency assessment.

In his debut collection, Some Trees (1956), the American poet John Ashbery poses a question that resonates across his oeuvre and much of modern art: 'How could he explain to them his prayer / that nature, not art, might usurp the canvas?' When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists-from the Dadaists to the 1960s neo-avant-gardists and beyond-who have dreamed of turning art into nature, of creating art that would be 'valid solely on its own terms, in the way nature itself is valid, in the way a landscape-not its picture-is aesthetically valid' (Clement Greenberg, 1939). Invisible Terrain reads Ashbery as a bold intermediary between avant-garde anti-mimeticism and the long western nature poetic tradition. In chronicling Ashbery's articulation of 'a completely new kind of realism' and his engagement with figures ranging from Wordsworth to Warhol, the book presents a broader case study of nature's dramatic transformation into a resolutely unnatural aesthetic resource in 20th-century art and literature. The story begins in the late 1940s with the Abstract Expressionist valorization of process, surface, and immediacy-summed up by Jackson Pollock's famous quip, 'I am Nature'-that so influenced the early New York School poets. It ends with 'Breezeway,' a poem about Hurricane Sandy. Along the way, the project documents Ashbery's strategies for literalizing the 'stream of consciousness' metaphor, his negotiation of pastoral and politics during the Vietnam War, and his investment in 'bad' nature poetry.

A 2018 FINALIST FOR THE PULITZER PRIZE

"[Hitler in Los Angeles] is part thriller and all chiller, about how close the California Reich came to succeeding" (Los Angeles Times).

No American city was more important to the Nazis than Los Angeles, home to Hollywood, the greatest propaganda machine in the world. The Nazis plotted to kill the city's Jews and to sabotage the nation's military installations: Plans existed for murdering twenty-four prominent Hollywood figures, such as Al Jolson, Charlie Chaplin, and Louis B. Mayer; for driving through Boyle Heights and machine-gunning as many Jews as possible; and for blowing up defense installations and seizing munitions from National Guard armories along the Pacific Coast.

U.S. law enforcement agencies were not paying close attention--preferring to monitor Reds rather than Nazis--and only attorney Leon Lewis and his daring ring of spies stood in the way. From 1933 until the end of World War II, Lewis, the man Nazis would come to call "the most dangerous Jew in Los Angeles," ran a spy operation comprised of military veterans and their wives who infiltrated every Nazi and fascist group in Los Angeles. Often rising to leadership positions, they uncovered and foiled the Nazi's disturbing plans for death and destruction.

Featuring a large cast of Nazis, undercover agents, and colorful supporting players, the Los Angeles Times­ bestselling Hitler in Los Angeles, by acclaimed historian Steven J. Ross, tells the story of Lewis's daring spy network in a time when hate groups had moved from the margins to the mainstream.

This path-breaking book reveals how Hollywood became "Hollywood" and what that meant for the politics of America and American film. "Working-Class Hollywood" tells the story of filmmaking in the first three decades of the twentieth century, a time when going to the movies could transform lives and when the cinema was a battleground for control of American consciousness. Steven Ross documents the rise of a working-class film movement that challenged the dominant political ideas of the day. Between 1907 and 1930, worker filmmakers repeatedly clashed with censors, movie industry leaders, and federal agencies over the kinds of images and subjects audiences would be allowed to see. The outcome of these battles was critical to our own times, for the victors got to shape the meaning of class in twentieth- century America.

Surveying several hundred movies made by or about working men and women, Ross shows how filmmakers were far more concerned with class conflict during the silent era than at any subsequent time. Directors like Charlie Chaplin, D. W. Griffith, and William de Mille made movies that defended working people and chastised their enemies. Worker filmmakers went a step further and produced movies from "A Martyr to His Cause" (1911) to "The Gastonia Textile Strike" (1929) that depicted a unified working class using strikes, unions, and socialism to transform a nation. J. Edgar Hoover considered these class-conscious productions so dangerous that he assigned secret agents to spy on worker filmmakers.

Liberal and radical films declined in the 1920s as an emerging Hollywood studio system, pressured by censors and Wall Street investors, pushed American film in increasingly conservative directions. Appealing to people's dreams of luxury and upward mobility, studios produced lavish fantasy films that shifted popular attention away from the problems of the workplace and toward the pleasures of the new consumer society. While worker filmmakers were trying to heighten class consciousness, Hollywood producers were suggesting that class no longer mattered. "Working-Class Hollywood" shows how silent films helped shape the modern belief that we are a classless nation.

On November 9 and 10, 1938, Nazi leadership unleashed an unprecedented orchestrated wave of violence against Jews in Germany, Austria, and the Sudetenland, supposedly in response to the assassination of a Nazi diplomat by a young Polish Jew, but in reality to force the remaining Jews out ofthe country. During the pogrom, Stormtroopers, Hitler Youth, and ordinary Germans murdered more than a hundred Jews (many more committed suicide) and ransacked and destroyed thousands of Jewish institutions, synagogues, shops, and homes. Thirty thousand Jews were arrested and sent to Nazi concentration camps. Volume 17 of the Casden Annual Review includes a series of articles presented at an international conference titled "New Perspectives on Kristallnacht: After 80 Years, the Nazi Pogromin Global Comparison." Assessing events 80 years after the violent anti-Jewish pogrom of 1938, contributors to this volume offer new cutting-edge scholarship on the event and its repercussions. Contributors include scholars from the United States, Germany, Israel, and the United Kingdom who represent a wide variety of disciplines, including history, political science, and Jewish and media studies. Their essays discuss reactions to the pogrom by victims and witnesses inside Nazi Germany as well as by foreign journalists, diplomats, Jewish organizations, and Jewish print media. Several contributors to the volume analyze postwar narratives of and global comparisons to Kristallnacht, with the aim of situating this anti-Jewish pogrom in its historical context, as well as its place in world history.