Darryl Hocking – författare

INNOVATIONS is a new five-level general English course for classes looking for new material with a fresh approach. Based on a language-rich, lexical/grammatical syllabus, it starts from the kinds of natural conversations that learners want to have.

INNOVATIONS is a new five-level general English course for classes looking for new material with a fresh approach. Based on a language-rich, lexical/grammatical syllabus, it starts from the kinds of natural conversations that learners want to have.Online Teacher Training available!

Audio CDs enhance Coursebook lessons through listening comprehension exercises.

Innovations is a new five-level general English course for classes looking for new material with a fresh approach. Based on a language-rich, lexical/grammatical syllabus, it starts from the kinds of natural conversations that learners want to have.

INNOVATIONS is a new five-level general English course for classes looking for new material with a fresh approach. Based on a language-rich, lexical/grammatical syllabus, it starts from the kinds of natural conversations that learners want to have.

Innovations is a new five-level general English course for classes looking for new material with a fresh approach. Based on a language-rich, lexical/grammatical syllabus, it starts from the kinds of natural conversations that learners want to have.

The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists' interviews and statements, this Element investigates shifts in artists' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.

The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists'' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists'' interviews and statements, this Element investigates shifts in artists'' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.

The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists'' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists'' interviews and statements, this Element investigates shifts in artists'' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.

This book provides an extensive and original analysis of the way that written and spoken communication facilitates creative practice in the university art and design studio. Challenging the established view of creativity as a personal attribute which can be objectively measured, the author demonstrates instead that creativity and creative practice are constructed through a complex array of intersecting discourses, each shaped by wider socio-historical contexts, beliefs and values. The author draws upon a range of methods and resources to capture this dynamic complexity from corpus linguistics to ethnography and multimodal analysis. This innovative volume will appeal to students and scholars of discourse analysis, creativity, and applied linguistics. It will also appeal to art and design educators.

This book provides an extensive and original analysis of the way that written and spoken communication facilitates creative practice in the university art and design studio. Challenging the established view of creativity as a personal attribute which can be objectively measured, the author demonstrates instead that creativity and creative practice are constructed through a complex array of intersecting discourses, each shaped by wider socio-historical contexts, beliefs and values. The author draws upon a range of methods and resources to capture this dynamic complexity from corpus linguistics to ethnography and multimodal analysis. This innovative volume will appeal to students and scholars of discourse analysis, creativity, and applied linguistics. It will also appeal to art and design educators.

This book brings together the research of leading scholars who explore the complex interplay between language and art. Employing a diversity of methods—including systemic functional linguistics, corpus analysis, multimodal analysis, genre analysis, discourse analysis, and cognitive linguistics—this edited collection offers fresh perspectives on the role of textual practices in shaping artistic production, interpretation, and engagement across a range of cultural and institutional contexts. The chapters examine a wide range of written and spoken texts, including artists’ statements, art reviews, painting titles, museum press releases, artists’ websites, guided tours, audio descriptions, and artist talks. This timely volume is relevant for students, teachers, and researchers in language and applied linguistics, discourse analysis and visual arts, as well as those in the areas of art theory and curatorial studies. It will also appeal to academic literacies and ESP (English for Specific Purposes) practitioners supporting visual arts students worldwide.

This book brings together the research of leading scholars who explore the complex interplay between language and art. Employing a diversity of methods—including systemic functional linguistics, corpus analysis, multimodal analysis, genre analysis, discourse analysis, and cognitive linguistics—this edited collection offers fresh perspectives on the role of textual practices in shaping artistic production, interpretation, and engagement across a range of cultural and institutional contexts. The chapters examine a wide range of written and spoken texts, including artists’ statements, art reviews, painting titles, museum press releases, artists’ websites, guided tours, audio descriptions, and artist talks. This timely volume is relevant for students, teachers, and researchers in language and applied linguistics, discourse analysis and visual arts, as well as those in the areas of art theory and curatorial studies. It will also appeal to academic literacies and ESP (English for Specific Purposes) practitioners supporting visual arts students worldwide.

This book provides a comprehensive overview of current research in English for Specific Purposes (ESP) and its pedagogical implications. Bringing together contributions from diverse tertiary contexts, it showcases the vitality of ESP studies in the twenty-first century.The volume highlights flourishing research themes and methodological innovations in ESP, while also engaging with closely related fields such as English for Academic Purposes and Professional English. Organized into three parts, it examines:•    Established research areas revisited from fresh perspectives,•    The integration and adaptation of well-known methodologies, and•    New directions that expand the horizons of ESP inquiry.Offering a state-of-the-art account of research and practice, the book illustrates how ESP scholarship continues to evolve and inform pedagogy worldwide. It will be of particular interest to graduate students, researchers, and practitioners seeking insights into both established and emerging trajectories within the field.