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Differences in Reading College Readiness by the Language Status of Texas High School Students: A Statewide, Multiyear Analysis
Get PDFThe extend to which differences were present for Emergent Bilingual students and non-Emergent Bilingual students in their performance on the Texas state-mandated English I End-of-Course exam for the 2018-2019, 2020-2021, and 2021-2022 school years was examined. Specifically addressed was the extent to which Emergent Bilingual students and non-Emergent Bilingual students differed in their performance on three Grade Level performance standards: Approaches Grade Level standard, Meets Grade Level standard, and Masters Grade Level standard in the pre-pandemic year and the first and second-post-pandemic years. Non-Emergent Bilingual students had statistically significantly better English I End-of-Course exam performance than Emergent Bilingual students in all three school years. An interesting finding was that neither group of students exhibited substantial loss between the pre-pandemic year and the two post-pandemic years in all three Grade Level standards, except the non-Emergent Bilingual group in the Masters Grade Level standard in the 2021-2022 school year, with a 0.3 learning loss. On the contrary, the performance of Emergent Bilingual students and non-Emergent Bilingual students improved throughout all three analyzed years in all three Grade Level standards
Dictating the Divine: Revisiting Authorship, Intention, and Authority from Sacred Texts to Generative AI
Get PDFThis article interrogates the historical practice of mediated authorship in religious texts to draw critical parallels with contemporary debates surrounding generative artificial intelligence (AI), specifically large language models (LLMs). By juxtaposing the mediated authorship of sacred texts, such as the Hebrew Bible and New Testament—where figures like the Apostle Paul dictated theological concepts to scribes who infused these directives with their interpretive insights—with the generative processes of LLMs, this research underscores the shared dynamics of co-constructed authorship across historical and technological contexts. Employing interdisciplinary methodologies from art history, textual studies, and reception theory, as well as theological and biblical studies, the study highlights that the primary contribution lies not in novel historical insights but rather in recognizing significant parallels in knowledge creation and dissemination across eras. Both scribal and AI-driven authorship challenge traditional conceptions of originality, intention, and authority, illustrating that mediated authorship has long been intrinsic to the production of significant cultural texts. By situating LLMs within this lineage, we recognize authorship as inherently mediated—whether through divine-human collaboration or human-algorithm interplay. These analogies provoke a reassessment of authorship as a collaborative and iterative construct, enriching contemporary discussions surrounding intellectual property, creative ownership, and ethical accountability in the digital age. This analysis contributes to broader discourses on the evolving intersections between human creativity, algorithmic agency, and cultural meaning-making in sacred and secular domains
Lindenwood Digest, April 9, 2025
Get PDFThe Lindenwood Digest has been a digital employee newsletter since 2009
From Palimpsest to Prompt: Rewriting Shakespeare, Creative Authorship, and the Generative Logics of Large Language Models in Contemporary Theatre
Get PDFThis article examines the convergence of creative authorship, adaptation, and generative artificial intelligence within contemporary theatre, taking Michael Harding‘s Awake, Young King as a central case study. Through the rewriting of Shakespearean drama, Harding‘s creative process demonstrates how theatrical meaning emerges through ongoing negotiation among playwright, performer, and audience, with scripts historically subject to revision, improvisation, and reinterpretation. Concerns regarding copyright, intellectual property, and the role of AI in the performing arts are reframed as extensions of enduring debates over originality and authorship, rather than novel threats. Tracing the evolution from The Rise of James VI to Awake, Young King, the article reveals that both human playwrights and large language models employ adaptive recombination of existing material, challenging strict divisions between human and computational creativity. Within the wider context of technological mediation already prevalent in theatre—from digital tools for rehearsal and feedback to automation in set and sound design—the presence of generative AI reflects an intensification of established creative methodologies, rather than a disruptive break. In light of the widespread closure of regional theatres and shifting audience expectations, the discussion advances the view that collaborative engagement with generative AI provides practical strategies for sustaining theatrical practice while also opening critical perspectives on adaptation, authorship, and relevance for emerging generations in the field
Image from John Proctor is a Villain (November 6-9, 2024)
No full texthttps://digitalcommons.lindenwood.edu/st_2024-2025_proctor/1002/thumbnail.jp
Image from John Proctor is a Villain (November 6-9, 2024)
No full texthttps://digitalcommons.lindenwood.edu/st_2024-2025_proctor/1016/thumbnail.jp
Image from Little Women: The Broadway Musical (February 27-28, March 1, 2025)
No full texthttps://digitalcommons.lindenwood.edu/st_2024-2025_littlewomen/1004/thumbnail.jp