This chapter considers what kind of utopian articulations can be glimpsed in contemporary British experimental poetry. Three experimental poets writing in the 2010s are analysed in detail: Sean Bonney, Verity Spott, and Callie Gardner. The chapter situates these poets within the British experimental poetry scene, tracing an ecosystem of small-scale independent publishing. DIY poetry magazines such as Zarf (produced in Cardiff, Leeds, and Glasgow) and presses such as the87press, Aquifer, DATABLEED, Sad Press, and many others operated outside of formalised spheres of paid labour. In the 2010s, communities of British poets, publishers, audiences, and readers sustained themselves through a non-commercial ethos of gift exchange. This ethos was explicitly utopian in its attempt to construct an alternative to capitalism through non-alienated economic and social structures. Whilst Herbert Marcuse’s utopian theorisation of the 1960s counterculture feels relevant to this moment in the British experimental poetry scene, the chapter explores how many of these poets expressed scepticism about the form’s inherent political potential. For them, politics, rather than aesthetics, contained the germs of utopian possibility. Their experimental works offer precursors to a futurity that is not yet here, but the arrival of which is necessary for the survival of progressive politics.

This chapter focuses on the role of quantitative research design in applied linguistics. It enables you to systematically gather and analyze data, providing a foundation for measuring variables, testing hypotheses, and making predictions. The chapter explores various types of quantitative research designs commonly used in the field, including experimental, quasi-experimental, correlational, and survey research designs. It also discusses the characteristics of each design, highlighting their unique subtypes, advantages, and limitations. By the end of this chapter, you will be equipped to distinguish between different quantitative research designs, critically evaluate their application in applied linguistics research, and effectively apply these methods in your own research projects.

This chapter summarises the key aerodynamic theory of horizontal-axis wind turbine rotors. The actuator disc concept leads to the relationships between induced velocity, axial thrust, and power extraction. The theory is extended to multiple streamtubes, which combined with 2D wing theory establish the basis of blade element momentum (BEM) theory. A straightforward mathematical treatment of BEM theory is included, with an iterative procedure suitable for coding. Measurements from a full-scale rotor illustrate the applicability of BEM theory but also its fundamental limitations: the latter are described, and measures outlined to compensate for them in practical BEM codes. Simple relationships are given for the axial and tangential load distributions on an optimal HAWT blade. The structure of the rotor wake is described, leading into a description of vortex-wake theory, which provides a more physically realistic description of the airflow. Vortex wake codes are described in non-mathematical terms. The chapter includes wake measurements from full-scale wind turbines and small models. Vorticity maps from the latter verify the underlying mathematical model of a helical vortex wake.

Mutual engagement between psycholinguistic and variationist sociolinguistic research is important: work to date shows quite different outcomes from these approaches. This chapter illustrates that, in general, heritage speakers maintain the grammatical structures and vocabulary of homeland varieties, in contradiction to widely held beliefs that language quickly “degrades” or is “bastardized” in immigrant communities, and in contradiction to many published studies about heritage languages. However, both approaches converge on finding change in one phonetic pattern in some of the languages analyzed. In this chapter, the potential sources of this apparent contradiction are explored, considering differences related to population, sample, methods of data collection, analysis, and predictors. This allows us to better understand whether, for example, reported “deficits” among heritage language speakers might be partly due to a deficit in test-taking and experience with formal contexts in the heritage language. It closes with a proposal for more coordinated work across methods.

What is particularly interesting in Quilt (2010) by Nicholas Royle narrating the impossible mourning of a man after the death of his beloved father, is its diverse pronominal shifts (it starts as a first-person narrative before becoming a third- then a second-person one), grammatically reflecting the slow disappearance of the first-person protagonist from the narrator’s position and then from the narrative altogether. The clearly-marked ‘you’ passages in Quilt highlight the ghostly presence of a narrator speaking on behalf of a character who is trying to keep it all together but is slowly losing it. The chapter displays that not only does the novel go down the pronominal hierarchy in the switch from first-person to third-person narrative via the second person, but it also stylistically subverts the Animacy Hierarchy through a generic ‘you’ that knits together different pockets of voices in a most experimental way. Royle’s novel is completed by an afterword calling on to the reader in a classical manner, which serves as a transition to Parts III and IV devoted to this (para)textual call to the reader/viewer.

Responses to experimental writing by Irish women poets have tended to be framed in terms of the American tradition. This has served to obscure the distinctiveness of these poets, both as a strand of the Irish tradition and among themselves, in the highly individual bodies of work produced by Susan Howe, Maggie O’Sullivan, and Catherine Walsh. The American-born Howe has been linked to the Language poets, but represents a complex intertwining of personal history and literary exchanges between Ireland and the United States. With its heavy use of parataxis and open-field poetics, Howe’s work opens itself up to wide historical vistas. O’Sullivan’s work, written from England, also stresses open-field forms while showing affinities with the sound poetry of Bob Cobbing and the ‘antiabsorptive’ poetics of Charles Bernstein. Nevertheless, the connection with the Irish tradition is strongly stressed, as is the case also with Catherine Walsh. Walsh’s writing on Dublin is unique in modern Irish writing, notably in its focus on minority and marginalised communities. In the ‘forms of attention’ required by all three writers, Irish women’s poetry remakes itself in unexpected and fascinating ways.

In the Anthropocene, earth system governance must be effective both within and across identities, and the inescapable equivocality of democratic governance means that discussions can never be closed but merely transformed as old problems and concerns give way to new.The experimental quality that effective environmental governance must possess cannot be a transient quality but, rather, must be a permanent feature of the landscape of democratic decision-making, in which success is realized in a context of identity politics.To take place without distortion and without posing systemic disadvantage, and for intergroup differences to be accommodated, substantial equality of access to decision-making and equitable allocation of fundamental capabilities are essential prerequisites.Institutional arrangements must provide for empowerment of those whose identities are otherwise ill-favored and the embeddedness of environmental decision-making in the communities of fate where people actually determine their shared life experiences.

More than just democracy in the form of aggregation of votes, deliberative democratic practice makes possible the learning, local knowledge, and engagement required by enlightened environmental governance under the conditions associated with the concept of the Anthropocene.

A pan-Asian American poetry has been at the forefront of innovative poetics in myriad ways. This chapter foregrounds the impact the innovative legacies of the 1980s and 1990s have had on early twenty-first-century Asian American poetry. The 1980s and 1990s witnessed within Asian American letters the success of a mainstream lyricism but were also a crucial incubation period for a counter-tradition impatient with mainstream modes of poetic expression. Three major counter-modes have come to characterize some of the finest achievements of contemporary Asian American innovative poetics: a surrealist mode, pioneered by John Yau and practiced by younger poets such as Paolo Javier; a documental mode of postmodern montage, evident in the work of Theresa Hak Kyung Cha, Walter K. Lew, Myung Mi Kim, and Divya Victor; and a phenomenological mode practiced by Mei-mei Berssenbrugge and Sueyeun Juliette Lee.

This chapter examines Hurston’s early dramatic works during the period popularly known as the Harlem Renaissance. It argues that a more comprehensive reading of the Harlem Renaissance must include Hurston’s early career in playwriting and that Hurston’s early plays – Meet the Mamma, Spears, The First One, and Color Struck – reflect key concerns of the Harlem Renaissance period. Within this context and combined with the fairly recent discovery of her plays, a fuller view of Hurston’s efforts becomes possible. Given the role of ritual and vernacular folk idioms that would come to dominate her creative writing and her social science career, Hurston’s early plays can be interpreted as testing ground for the theories of culture she would later develop in her novels and essays.

The Under the Radar festival is the result of the politics of a time and place that were reset by 9/11. That is when the USA finally learned that it is not invulnerable at home and that its alliances in art, culture, science, and industry are fundamental to its well-being. Situated at Astor Place, a neighbourhood at the crossroad between New York’s East and West Village, Under the Radar is part of a long history of a place that maps part of the story of American immigration, architecture, urban decay and renewal, the economy, and theatre. The festival pivoted away from American exceptionalism towards the interdependence of the neo-liberal economy by accentuating transnationalism in the context of globalization. Greenwich Village’s intellectual and artistic vibrancy has a history of being in conversation with ideas and experimentation originating in Europe, Asia, Africa, Australia, and the Americas. Under the Radar draws upon and adds to this legacy of place through its presentation of work from all over the world. Diversity at Under the Radar signifies ‘this is us’, not in the sense of either multiculturalism or sameness, but of an inquiry of ideas that shapes our shared human destiny.

The chapter discusses the scientific and pragmatic challenges to be addressed when planning a study of cognitive psychopathology in children. The quasi-experimental nature of this branch of inquiry necessitates careful consideration of the sampling frame, as well as decisions on how to validly and efficiently measure psychopathology. The design should focus on maximizing the internal validity of the cognitive construct, experimental manipulation, and outcome variables. However, the ultimate significance of a study is also directly related its relevance to real world behaviors of interest. Pragmatic solutions to establishing effective recruitment strategies as well as methods to train research assistants and maintain active assent among child participants with emotional and behavioral concerns are also discussed.