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Presenting Your Research : Conferences, Symposiums, Poster Presentations and Beyond
For many researchers, the need to present relevant and engaging material in the most effective way in an unfamiliar setting presents a potential barrier to their success as professionals. This handy guide tackles the obstacles to effective and successful presentations, considering the range of material which might be presented, the occasions which suit different types of material and the skills needed to present research in a way that is engaging and persuasive. This book addresses questions such as: Why should I give a paper and where might I give a paper?How does the conference system works? How do I prepare an abstract/outline/synopsis? How do I chose my material and prepare it for a conference presentation?How can I prepare effective conference aids? How can I overcome my nerves? How can I prepare and present effective posters for poster presentations? As with the other titles in the Success in Research series, this guide takes a hands-on approach and includes checklists, top tips, exercises and examples to help you remember what you have read and put it immediately to work! The Success in Research series, from Cindy Becker and Pam Denicolo, provides short, authoritative and accessible guides on key areas of professional and research development. Avoiding jargon and cutting to the chase of what you really need to know, these practical and supportive books cover a range of areas from presenting research to achieving impact, and from publishing journal articles to developing proposals.They are essential reading for any student or researcher interested in developing their skills and broadening their professional and methodological knowledge in an academic context.
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Berlitz Language : Arabic
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How can one forget culture and heritage?
One can forget culture and heritage by not actively engaging with it, by being disconnected from one's roots and community, and by prioritizing other aspects of life over preserving and celebrating one's cultural identity. This can happen through assimilation into a different culture, lack of exposure to one's own cultural traditions and practices, and a lack of interest in learning about one's heritage. Additionally, societal pressures and discrimination can also contribute to the erasure of one's culture and heritage.
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What is the difference between culture and tradition?
Culture refers to the beliefs, customs, arts, and social behaviors of a particular group of people, encompassing a broader range of practices and values. On the other hand, tradition specifically refers to the customs and practices that are passed down from generation to generation within a specific community or society. While culture is more dynamic and can evolve over time, traditions tend to be more static and rooted in history and heritage.
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What is the meaning of tradition, culture, and identity?
Tradition refers to the customs, beliefs, and practices that are passed down from generation to generation within a community or society. Culture encompasses the shared values, beliefs, and behaviors of a particular group of people, including their language, art, music, and social norms. Identity is the sense of self and belonging that is shaped by one's cultural background, traditions, and experiences. Together, tradition, culture, and identity form the foundation of a person's sense of belonging and connection to their community and heritage.
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What are art and culture events?
Art and culture events are gatherings or activities that showcase various forms of artistic expression, such as visual arts, music, dance, theater, literature, and more. These events provide a platform for artists to share their work with the public and engage in creative dialogue. They also offer opportunities for individuals to immerse themselves in different cultural experiences, broaden their perspectives, and appreciate the diversity of human expression. Overall, art and culture events play a vital role in enriching communities, fostering creativity, and promoting understanding and connection among people.
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Heritage Preservation and Rights in Nepal : The Newar Language Culture and Rituals
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Napoleonic Objects and their Afterlives : Art, Culture and Heritage, 1821-present
Two centuries after Napoleon Bonaparte’s death, this edited volume brings together a diverse group of historians, art historians, and museum professionals to critically examine the enduring power of visual and material culture in the making of Napoleonic memory.While most discussions surrounding the legendary figure explore his impact on legislative, political, or military reform, this innovative volume explores the global dimensions of the trade in Napoleonic collectibles, art, and relics over time. Representing new avenues of research and scholarship, Napoleonic Objects and their Afterlives investigates the material objects and cultural forms that Napoleon inspired through a range of themes.These include art collecting, the circulation and display of objects, political and imperial symbolism, and the flexibility and ambiguity of Napoleon’s enduring legacy.The essays examine how and why, despite his contentious role in contemporary memory, Napoleon continues to escape much historical and popular censure.They explore the ways people have connected with the idea of him: on stage and screen; in museums and galleries; and most intimately of all, by gathering items said to have belonged to him, right down to his toothbrush and locks of his hair. Napoleonic items can be official or personal, serious or comical, luxury or disposable, yet little work has been done to bring together these diverse cultural histories into conversation with one another.With its broad, multi-disciplinary approach, including perspectives from art history, film studies, cultural history, and museum curation, the book provides a deep critical insight into the cult of personality surrounding Napoleon and its effect on our understanding of celebrity culture today and in the future. Includes an additional foreword by Napoleon’s biographer, Ruth Scurr, author of In Gardens and Shadows (2021).
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Rethinking Heritage Language Education
A collaborative series with the University of Cambridge Faculty of Education highlighting leading-edge research across Teacher Education, International Education Reform and Language Education. Rethinking Heritage Language Education is an edited collection that brings together emerging and established researchers interested in the education field of Heritage Language Education to negotiate its concepts and practices, and investigate the correlation between culture and language from a pedagogic and cosmopolitical point of view.The scholars, who have contributed to the growth of Heritage Language Education as a discipline, reconsider and enrich their findings by drawing new lines across the boundaries of research and practice.It complements the previous work of these theorists, filling a void in the current literature around the question of Heritage Language Education.
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The Arabic Afrikaans Writing Tradition, 1815 - 1915
Afrikaans developed when slaves in the Cape adapted Dutch – the language of the rulers – for their own use.Many years later Afrikaans was hijacked by some white Afrikaners as ‘their language’, but Davids proved beyond doubt that it was the descendants of the slaves, not their masters, who first wrote Afrikaans. “…Davids straddled different fi elds and roles: unlike the linguists, he was also an historian and a community leader with deep roots in the Muslim community of Cape Town.He first established himself in the 1980s as an expert on 19th-century Cape Muslim history with two books, The Mosques of the Bo-Kaap (1980) and The History of the ana Baru, (1985). His work contributed much to inspire a new generation of historians of the colonial Cape to write more inclusive histories, which also paid attention to Islam.Thus, when Achmat Davids turned his attention to the contribution of Cape Muslims to the history of Afrikaans, he did so with a foremost knowledge of their socio-cultural history and with extensive access to informants and (private) sources which probably no other individual could have commanded. For this reason, this book is of as much importance to historians of the colonial Cape as it is to historians of the Afrikaans language and South African Islamic culture.” –Gerald Groenewald The focus of this book is the Arabic-Afrikaans literary tradition of the Cape Muslim community.It looks at the emergence of this tradition at the Cape of Good Hope, as well as the social vehicles through which it emerged and through which it was in use.This is done through an examination of the literature, in the form of manuscripts and publications, it generated during the first hundred years of its existence. Importantly, the book looks at the development of the distinctive Arabic alphabet that local Arabic-Afrikaans authors used to convey accurately this community’s mother tongue.The history of the Afrikaans language is still very little understood and discussed, and this book illuminates the extraordinary story of its beginnings, with slaves and colonisers, with Xam!, Indonesians, Malaysians, Turks and imams of all stripes.It’s a wonderfully rich story told in detail here, with verve and a keen ear for story. Jacana Media is delighted to make available again a classic work of South African hidden history, that of the Arabic Afrikaans literary tradition.Previously published in 2010 as The Afrikaans of the Cape Muslims from 1815 to 1915, this edition carries a new introduction by Heinrich Willemse.
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What is the Arabic language?
Arabic is a Semitic language that is spoken by millions of people around the world, primarily in the Middle East and North Africa. It is the official language of 22 countries and is one of the six official languages of the United Nations. Arabic is known for its rich literary tradition, with classical Arabic being the language of the Quran and Islamic texts. It is also a diverse language with many different dialects and variations across different regions.
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Is Arabic a flowery language?
Arabic is often considered a flowery language due to its rich vocabulary, poetic traditions, and intricate calligraphy. The language is known for its use of metaphors, similes, and ornate expressions, which can give it a flowery and expressive quality. Additionally, Arabic is also known for its use of formal and polite language, which can add to its perceived flowery nature. Overall, Arabic's linguistic features and cultural traditions contribute to its reputation as a flowery language.
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Is the Ottoman language Arabic?
No, the Ottoman language is not Arabic. The Ottoman language, also known as Ottoman Turkish, was a Turkic language that was heavily influenced by Arabic and Persian due to the cultural and historical connections between the Ottoman Empire and the Arab and Persian worlds. However, it was a distinct language with its own grammar, vocabulary, and script. Arabic, on the other hand, is a Semitic language and is not the same as Ottoman Turkish.
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Does the Arabic language resemble the Dari language?
Arabic and Dari are both members of the Indo-Iranian branch of the Indo-European language family, but they belong to different subgroups. Arabic is a Semitic language, while Dari is an Iranian language. As a result, the two languages have different grammatical structures, vocabulary, and phonetics, making them distinct from each other. While there may be some loanwords or influences due to historical interactions between Arabic-speaking and Dari-speaking regions, the overall resemblance between the two languages is limited.
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