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!

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.

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.

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.