Peer review is considered as one of the important components of process-oriented writing instruction. It is believed that language learners benefit from negotiating meaning in peer review for their language development and learning. This study investigated how peer reviewers in pairs and groups of three pointed out problematic parts in writing to understand the influence of the two grouping modes on negotiation of meaning in peer review. It included twelve students in a Japanese EFL university writing classroom. It was found that the students pointed out more problematic parts in groups of three than in pairs because the two peer reviewers in each group collaborated by pooling their skills and knowledge of English. When they worked in groups of three, there were differences in the amount of output among the peer reviewers depending on what approach they used, turn taking or division of roles: a facilitator and an attentive participant. Despite the differences in the amount of output, all the peer reviewers contributed to negotiation of meaning. Overall, whether they worked in pairs or groups of three, they pointed out many more problematic parts than the students from the previous study (Kaneko, 2017), whose findings were reflected in the peer review exercises in this study. This study also confirmed the importance of carefully considering factors which affect language learners’ peer review experience in designing peer review.

It has been observed that verbs can be divided into manner and result verbs. Manner verbs denote manners of action of an agent, whereas result verbs designate a change of state or location of an object. This paper investigates how the manner/result verb distinction is associated with the (un) availability of a non-subcategorized object NP from the perspective of event structures. We follow the traditional assumption that such non-subcategorized object NPs are licensed by small clauses and propose that they can be divided into at least two types: resultative small clauses and co-extensive small clauses. The former denotes a result event brought about by the verbal event, whereas the latter serves to further specify the verbal event. Manner verbs can take both types of small clauses. Result verbs, on the other hand, permit only the latter due to an event structural restriction. This explains the kinds of object NPs that result verbs can take. This paper also shows that a co-extensive small clause analysis can be assigned to various verb classes, including manner verbs such as hit verbs, wipe verbs, push verbs, and throw verbs and result verbs such as break verbs, cut verbs, pierce verbs, and clear verbs.

Christina Rossetti (1830–94) is one of the most significant women poets of the Victorian era. When she was a child, she used to spend enjoyable times at her maternal grandfather’s cottage at Holmer Green in Buckinghamshire, where she communed with nature and gained practical knowledge about animals, plants and other natural phenomena. The experience in the countryside left an indelible memory in her life. Afterward Rossetti published Sing-Song:A Nursery Rhyme Book (1872) that reflected her pleasant memories. Even when she lived in London, she sought out the nature in urban life and observed various kinds of plants and animals she liked.

Gilbert White’s The Natural History and Antiquities of Selborne 1789, was widely read in the Victorian era. Due to this influential book, Victorian natural history was no longer for professionals only but was also open to amateur naturalists who had an intellectual curiosity. Rossetti seems to be one of those people. Moreover she had two remarkable inspirations in her life that influenced her to write natural poems. One is Pre-Raphaelitism, the art movement that her brothers established with their art students, and the other is Christianity. When Rossetti was young, she took part in the Oxford Movement with her mother and sister. I will discuss the relationship between Victorian natural history and Christina Rossetti’s works from the perspective of the influence of Pre-Raphaelitism and Christianity.

4.48 Psychosis (2000) by Sarah Kane explores the inner space of a psychologically disturbed narrator. Numerous directors around the world have staged this postdramatic play in completely different ways, as this piece lacks headings and reference to time and place. We cannot determine the number of characters, their names, and where or when it is set. Yet, some of its major enactments opted for a claustrophobic monologue by a female mental patient.

The purpose of the present article is to clarify and examine two main features of one of the recent productions of 4.48 Psychosis in Hamburg, Germany in 2017. The first aspect considered is its theatrical minimalism: what the audience witnesses is nothing but an actress on a pitch-dark stage, whose fourth wall is surrounded with a fluorescent-light frame. The other element analyzed is, paradoxically, the specificity of the setting: with innovative sound effects and lightings, this production vividly portrays the heroine soliloquizing in and walking around a city at night in search of a place to commit suicide.

Particularly striking is the manner in which this open-air setting can be contrasted with the closed mind of the protagonist. Although she physically ranges over a long distance in the narrative, her mind and lines are largely filled with painful experiences from her past stay in a mental hospital. One may, therefore, say that the Hamburg Enactment metaphorically depicts her sense of entrapment in this specific memory by situating this walker within the dark interior confines of the framed stage box.