WELCOME TO THE LINGUISTICS HOME PAGE OF MARIANA MADUELL
[Under construction]

EDUCATION/LANGUAGES/COMPUTER:

• MBA, University College Northampton, 2001.
• Ph.D. in Linguistics, University of Hawaii at Manoa, Honolulu, 1994.
• M.A. in Linguistics, University of Hawaii at Manoa, Honolulu, 1982.
• B.A. in Spanish, University of New Orleans, 1978.
• Languages: Fluent in Spanish, with additional background in Italian, Catalan, German, and Ilokano.
• Computer: Word Perfect, Word, Powerpoint, Excel, Multi-edit, Minitab, QM for Windows, UNIX (Emacs), SNOBOL4/SPITBOL, HTML, Xerox Ventura Publishing, UCSD Pascal, DVED, DAED, Sprint, and probably others.

POSITIONS SOUGHT:

• University Administration/Management
• University Faculty (Linguistics, Spanish language, dance)
• Research (Linguistics, Lexicography, Computational, Dance, other)
• Geographic availability: Open, with a general preference for the United Kingdom, western Europe, Hawai`i, and perhaps Australia

POSITIONS HELD:
Academic Research:
Honorary Research Fellow, Sensory Motor Neurosciences group, Behavioural Brain Sciences Centre, School of Psychology, University of Birmingham (UK) -- 2000-present:

• Collaborative research on coordination and synchronization of rhythm in ensembles

• Participate in the planning, programming, data compilation, preparation, formatting, and printing of computerized dictionaries and texts for projects in the Social Science Research Institute, the East-West Center, and the departments of Linguistics and Indo-Pacific Languages (Projects: Comparative Austronesian Dictionary, Salish Lexicography Project, Cheke Holo Dictionary, Asilulu Dictionary, Ilokano Dictionary, Tahitian Lexical Project, and the texts (data input only) for the Marshallese Grammar and Austronesian Root Theory).
• Work with computer programmers in adapting existing software to new uses.
• Train new graduate assistants (Austronesian Comparative Dictionary).
• Manipulate data from a wide variety of languages belonging to the Austronesian and Salish (North American Indian) language families. Work with special character sets to accomodate languages.

Teaching/Second Language Application:
Teacher/Guest Lecturer (United States, Spain, Mexico, England, Ireland) -- 1963-present:

• Linguistics/Language: Spanish language and culture, romance linguistics.
• Dance/Music: Flamenco, Spanish classical, and jazz dance technique, choreography, and styling; flamenco guitar for dance accompaniment.
• Ongoing group and private classes (dance and music), adults and teens
• Guest lecturer for University of Hawai`i Statewide Cultural Extension Program (College of Continuing Education), Hawai`i State Department of Education Artists-in-the-Schools, Kamehameha Schools, Mid-Pacific Institute, Pen~a Flamenca de Irlanda del Norte, Pen~a Flamenca de Londres

Instructional Assistant, University of Hawaii at Manoa, Department of Linguistics -- 1980-84:

• Create, administer, and grade tests for the Unit Mastery section of Linguistics 102.
• Prepare weekly computer updates (TSO).

Substitute Teacher, Bonnabel High School, New Orleans, 1979, State of Hawaii Department of Education, 1995-96.

• High school permanent substitute teacher for math and biology, Bonnabel High School.
• General high school curriculum, Hawaii.

Federal Court Interpreter/Translator, Honolulu, 1995-present.

• Emergency interpreter and translator for Spanish.

Escort Interpreter, New Orleans Genealogical Society, Spain, 1978.

• Interpret Spanish/English for researcher in official and unofficial situations.
• Translate data from Spanish, Catalan, and Latin records into English.

Performing Arts (go to my dance page)

PUBLICATIONS AND ACKNOWLEDGEMENTS:
Doctoral dissertation: On-stage calls: An ethnolinguistic analysis of spoken language in professional flamenco performance. 1994. Ann Arbor, MI: U.M.I. [Abstract]

MBA dissertation: Operations research goes to the ballet: Senior Management and modelling considerations in a performing arts industry. [Summary]

Published working paper: "Cues" in flamenco performance: Exposing a hidden speech genre. 1987. Working Papers in Linguistics, Vol. 19, No. 2:33-44. Honolulu: University of Hawaii. [Online copy]

Flamenco dance: A manual of traditional technique and structure. In preparation.

Co-authorship:
Maduell, Mariana, Alan Wing, and Ruth Kearns. Co-ordination in ensemble performance. In preparation.

Collaboration/contribution acknowledged in the following publications:
Blust, Robert A. 1988. Austronesian root theory: An essay on the limits of morphology. John Benjamins Publishing Company: Amsterdam.

-----. In press. The Austronesian comparative dictionary.

Egesdal, Steven M. 1992. Stylized characters' speech in Thompson Salish narrative. University of Montana Occasional Papers in Linguistics, No. 9.

Thompson, Laurence C. and M. Terry Thompson. 1992. The Thompson language. University of Montana Occasional Papers in Linguistics, No. 8.

-----. 1996. Thompson River Salish Dictionary. University of --> --Montana Occasional Papers in Linguistics, No. 12.

Turner, Nancy J., Laurence C. Thompson, M. Terry Thompson, and Annie Z. York. 1990. Thompson ethnobotany: Knowledge and usage of plants by the Thompson Indians of British Columbia. Royal British Columbia Museum: Victoria.

White, Geoffrey M. 1988. Cheke Holo (Maringe/Hograno) dictionary. Pacific Linguistics, Series C - No. 97.

HONORS AND AWARDS:
Honorary Research Fellow, SyMoN Group (Sensory Motor Neuroscience), School of Psychology, University of Birmingham, summer/2000
Hawaii State Dance Council Choreographic Award, 1993, for Spanish classical piece to "El Polo" by I. Albeniz
National Resource Fellowship (Ilokano language), University of Hawaii, 1981-84
the Honor Society of Phi Kappa Phi
Decennial Honor Award (academic scholarship), University of New Orleans, 1969-70, 1976-78
Departmental Award for Spanish, University of New Orleans, 1976-77, 1977-78
Dean's List, University of New Orleans

RESEARCH (A PERSONAL APPROACH):
My path from dancer to linguist was actually a logical one. I have always liked languages. My interest in Spanish emerged when I began dancing professionally in Spanish dance touring companies. Many of the performers did not speak English. I learned what I needed in order to survive in the companies, but despite formal language study, I did not work seriously with the language until I changed my home base to Madrid and started touring internationally. I fell under the spell of other European languages and began to play with them. When I "retired" from Spanish dance for the first time and returned to my academic studies, I found a Spanish teacher in my department who was also a linguist. I had found my field.

My original research interests were Romance Languages and Romance-based pidgins and creoles, with related side interests in Indo-European and Germanic. During my early graduate study, my interest shifted to American Indian linguistics under the wonderful, supportive, and irreplaceable Laurence Thompson, then an active member of the University of Hawaii Linguistics Department faculty (now emeritus). I concentrated on Dr. Thompson's areas, took course work with Robert Hsu in computational linguistics, did some formal study of Ilokano, and thought my path was set. It was not fated to be; Dr. Thompson suffered a massive stroke and was forced to take early retirement.

I switched over to acoustic phonetics, but found after a couple of years that it was not what I wanted to do. In the meantime, I had been taking and auditing an odd assortment of courses: Linguistics and Artificial Intelligence, Living in Space (Anthropology department offering), and courses on the ethnography of speaking, which I immediately applied to speech situations in flamenco and other dance. I found a new home in the grey area surrounded by ethnolinguistics, sociolinguistics, dance ethnology, and ethnomusicology. Michael L. Forman took over as my advisor, and I finished my dissertation on flamenco calls at the end of 1994 under his direction and with the help of my committee of Drs. George Grace, Robert Hsu, Edgar Knowlton (emeritus, Dept. of European Languages), and Albert Schutz (sorry about the non-umlaut, Al).

My current research interests spread out in several directions, most based on my interest in linguistic applications in the performing arts:

• continuing interest in flamenco applications and comparative studies (ethnolinguistic analysis),
• construction of a trilingual dictionary of flamenco terminology (Spanish-English-Japanese) -- this would require a collaborator --> -- fluent in Japanese,
• preparation of a series of introductory lectures on linguistics aimed at a high school audience (general, historical-comparative, socio-, ethno-, Romance and other languages families),
• development of computational models that can handle multichannel work such as flamenco with results that are both accurate and acceptable to the appropriate (sub)culture,
• continuing interest in peninsular Spanish dialects, especially andaluz, and other peninsular languages, especially Catalan (my relatives will like this one),
• continuing interest in both the Salish Lexicography Project (L.C. Thompson, M.T. Thompson, and UH PhD Steve Egesdal; programs by R. Hsu) and the Austronesian Comparative Dictionary Project (R. Blust; programs by D. Stampe),
• continuing interest in ensemble efforts involving music and dance. I continue to teach dance and guitar accompaniment for dance. I also choreograph for and serve as co-director for a small Spanish dance ensemble.

In recent months, things have gotten even more challenging. I am doing research in the area of rhythm coordination (ensemble perception and production) with Dr. Alan Wing of the Sensory Motor Neurosciences group at the Behavioural Brain Sciences Centre of the School of Psychology at Birmingham University (UK). This is a totally new and exciting area for me.

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Last update: 6/2002