During New York’s Bilingual Fair with Kathleen Stein-Smith and our soon-to-be released book, The Gift of Languages: Paradigm Shift In Foreign Language Education. The book explores the many advantages of multilingual education and sets the stage for a new paradigm in our approach to teaching and learning languages. Also, the book touches on the issue of foreign language deficit in the United States and the changes that need to occur in our schools to better serve our children and our linguistic communities. The book also explores the growth of dual-language education in recent years and explores the connection between both multilingual programming and solving the United States’ foreign language problem. You can pre-order on http://www.tbr-books.com
Die bilinguale Revolution (German Edition coming soon). Als ein praktisches und zugängliches Buch konzipiert, das Sie in Ihrem Projekt begleiten wird, ist Die Bilinguale Revolution die Geschichte einer in Brooklyn geborenen Bewegung, erzählt aus der Sicht von Eltern und Lehrenden die duale Sprachprogramme in ihren Schulen gegründet haben, überzeugt davon, dass bilinguale Bildung ein Allgemeingut ist, das überall angeboten werden sollte, da es ein Kind, eine Schule, ein Land positiv verwandeln kann.
April 2, 2018 was the 50th anniversary of a 1968 premiere screening in Washington, D.C. of Stanley Kubrick’s 2001: A Space Odyssey. The film remains the most fascinating cinematographic adventure given to experience. As a tribute to the masterpiece, and to the maestro himself, this essay which was first presented in 1995 as a scholarly paper explores the multiple connections to the Odyssean theme that one may find in Stanley Kubrick’s filmography.
Kubrick’s unweaving and re-weaving of the cinematographic tapestry reflect his attachment to the changeability implied in the Odyssean theme, which has become the theme of questioning, the perpetual questioning of one’s possibilities. The camera’s shuttling back and forth in time, round and round in space, through the means of dolly movements, shots and reverse shots, circular and spiraling recurrences, equates the director’s shuttling between classical and avant-garde techniques, between painting and photography, between musical intensity and spatial silence.
A chassé-croisé which the pluricephal director utilizes with a view to producing new angles of view and new parallaxes: a constant Kubrickian experimentation of the cinematographic language.