2002: Do cloze tests work? Or, is it just an illusion? Second Language Studies 21, 79-125. Google Scholar. 2004a: Research methods for Applied Linguistics: Scope, characteristics, and standards. In Davies, A. And Elder, C., editors, The handbook of applied linguistics. Oxford: Blackwell, 476-500.

James Dean in 1955 Born James Byron Dean ( 1931-02-08)February 8, 1931,, U.S. Died September 30, 1955 ( 1955-09-30) (aged 24),, U.S.

Cause of death Resting place Park Cemetery,, U.S. Occupation Actor Years active 1950–1955 Height 5 ft 8 in (1.73 m) Signature James Byron Dean (February 8, 1931 – September 30, 1955) was an American actor. He is remembered as a of teenage disillusionment and social estrangement, as expressed in the title of his most celebrated film, (1955), in which he starred as troubled teenager Jim Stark. The other two roles that defined his stardom were Cal Trask in (1955) and surly ranch hand Jett Rink in (1956). After prematurely in a car crash, he became the first actor to receive a posthumous nomination for, and remains the only actor to have had two posthumous acting nominations. In 1999, the ranked him the 18th best male movie star of Golden Age Hollywood in list. Contents • • • • • • • • • • • • • • • • • • • • • • • Early life [ ] James Dean was born February 8, 1931, at the Seven Gables apartment on the corner of 4th Street and McClure Street in, the only child of Winton Dean (January 17, 1908 – February 21, 1995) and Mildred Marie Wilson (September 15, 1910 – July 14, 1940).

His parents were of mostly English ancestry, with smaller amounts of German, Irish, Scottish, and Welsh. Six years after his father had left farming to become a dental technician, Dean and his family moved to. He was enrolled at Brentwood Public School in the neighborhood of,, but transferred soon afterward to the McKinley Elementary School. The family spent several years there, and by all accounts, Dean was very close to his mother. According to Michael DeAngelis, she was 'the only person capable of understanding him'.

In 1938, she was suddenly struck with acute stomach pain and quickly began to lose weight. She died of when Dean was nine years old. Unable to care for his son, Dean's father sent him to live with Dean's aunt Ortense and her husband, Marcus Winslow, on a farm in, where he was raised in their household.

Dean's father served in and later remarried. In his adolescence, Dean sought the counsel and friendship of a local pastor, the Rev.

James DeWeerd, who seems to have had a formative influence upon Dean, especially upon his future interests in, car racing, and theater. According to Billy J. Harbin, Dean had 'an intimate relationship with his pastor, which began in his senior year of high school and endured for many years'. Their alleged sexual relationship was suggested in the 1994 book Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean. In 2011, it was reported that Dean once confided in that he was by a minister approximately two years after his mother's death.

Other reports on Dean's life also suggest that he was either sexually abused by DeWeerd as a child or had a sexual relationship with him as a late teenager. Dean's overall performance in school was exceptional and he was a popular student. He played on the and varsity teams, studied drama, and competed in through the Indiana High School Forensic Association. After graduating from Fairmount High School in May 1949, Dean moved back to California with his dog, Max, to live with his father and stepmother. He enrolled in (SMC) and majored in. He transferred to for one semester and changed his major to drama, which resulted in estrangement from his father.

He pledged the Sigma Nu fraternity but was never initiated. While at UCLA, Dean was picked from a group of 350 actors to portray Malcolm in. At that time, he also began acting in 's workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor. Acting career [ ]. Dean in 1953 Dean's first television appearance was in a commercial. He quit college to act full-time and was cast in his first speaking part, as, in Hill Number One, an Easter television special dramatizing the.

Dean worked at the widely filmed in the area of Los Angeles during production of the program, for which a replica of the tomb of Jesus was built on location at the ranch. Dean subsequently obtained three walk-on roles in movies: as a soldier in, a boxing cornerman in, and a youth in While struggling to get jobs in, Dean also worked as a parking lot attendant at, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay.

In July 1951, Dean appeared on, which was produced by Brackett. In October 1951, following the encouragement of actor and the advice of his mentor Rogers Brackett, Dean moved to New York City. There, he worked as a stunt tester for the, but was subsequently fired for allegedly performing the tasks too quickly. He also appeared in episodes of several CBS television series The Web,, and, before gaining admission to the to study under.

Proud of this accomplishment, Dean referred to the Actors Studio in a 1952 letter to his family as 'the greatest school of the theater. It houses great people like,,,. Very few get into it. It is the best thing that can happen to an actor. I am one of the youngest to belong.'

There, he was classmates and close friends with, alongside whom he would eventually star in Giant (1956). Dean's career picked up and he performed in further episodes of such early 1950s television shows as,,,, and.

One early role, for the CBS series in the episode 'Glory in the Flower', saw Dean portraying the type of disaffected youth he would later portray in. This summer 1953 program was also notable for featuring the song ', one of the first dramatic TV programs to feature. Positive reviews for Dean's 1954 theatrical role as Bachir, a pandering North African houseboy, in an adaptation of 's book, led to calls from Hollywood. East of Eden [ ]. Dean in (1955) In 1953, director was looking for a substantive actor to play the emotionally complex role of 'Cal Trask', for screenwriter Paul Osborn's adaptation of 's 1952 novel.

The lengthy novel deals with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in, California, from the mid-19th century through the 1910s. In contrast to the book, the film script focused on the last portion of the story, predominantly with the character of Cal. Though he initially seems more aloof and emotionally troubled than his twin brother Aron, Cal is soon seen to be more worldly, business savvy, and even sagacious than their pious and constantly disapproving father (played by ) who seeks to invent a vegetable refrigeration process.

Cal is bothered by the mystery of their supposedly dead mother, and discovers she is still alive and a brothel-keeping 'madam'; the part was played by actress. Before casting Cal, Elia Kazan said that he wanted 'a Brando' for the role and Osborn suggested the relatively unknown young actor, James Dean.

Dean met with Steinbeck, who did not like the moody, complex young man personally, but thought him to be perfect for the part. Dean was cast in the role and on April 8, 1954, left New York City and headed for Los Angeles to begin shooting. Much of Dean's performance in the film is unscripted, including his dance in the bean field and his fetal-like posturing while riding on top of a train boxcar (after searching out his mother in nearby ).

The most famous improvisation of the film occurs when Cal's father rejects his gift of $5,000, money Cal earned by speculating in beans before the US became involved in World War I. Instead of running away from his father as the script called for, Dean instinctively turned to Massey and in a gesture of extreme emotion, lunged forward and grabbed him in a full embrace, crying. Kazan kept this and Massey's shocked reaction in the film.

Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from their fathers.

In recognition of his performance in East of Eden, Dean was nominated posthumously for the 1956 Academy Awards as Best Actor in a Leading Role of 1955, the first official posthumous acting nomination in Academy Awards history. ( was nominated for Best Actress in 1929, when the rules for selection of the winner were different.) East of Eden was the only film starring Dean that he would see released in his lifetime. Rebel Without a Cause [ ]. Main article: Giant, which was posthumously released in, saw Dean play a supporting role to and. This was due to his desire to avoid being as a rebellious teenager like Cal Trask or Jim Stark. In the film, he plays Jett Rink, a Texan ranch hand who strikes oil and becomes wealthy.

His role was notable in that, in order to portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death.

Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director decided the scene had to be overdubbed by, who had a small role in the film, because Dean had died before the film was edited. Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant at the in 1957 for films released in 1956. Personal life [ ] Screenwriter was one of Dean's closest friends, a fact acknowledged by Dean's family. According to Bast, who was also Dean's first biographer, (1956), he was Dean's roommate at and later in New York, and knew Dean throughout the last five years of his life.

Fifty years after Dean's death, he stated that their friendship had included some sexual intimacy. While at UCLA, Dean dated Beverly Wills, an actress with CBS, and Jeanette Lewis, a classmate.

Bast and Dean often double-dated with them. Wills began dating Dean alone, later telling Bast, 'Bill, there's something we have to tell you. It's Jimmy and me.

I mean, we're in love.' : 71 They broke up after Dean 'exploded' when another man asked her to dance while they were at a function: 'Jimmy saw red. He grabbed the fellow by the collar and threatened to blacken both of his eyes,' she said.: 74 Dean had also remained in contact with his girlfriend in New York, Barbara Glenn, whom he dated for two years. Their love letters sold at auction in 2011 for $36,000. Early in Dean's career, after Dean signed his contract with, the studio's public relations department began generating stories about Dean's liaisons with a variety of young actresses who were mostly drawn from the clientele of Dean's Hollywood agent,.

Studio press releases also grouped Dean together with two other actors, and, identifying each of the men as an 'eligible bachelor' who has not yet found the time to commit to a single woman: 'They say their film rehearsals are in conflict with their marriage rehearsals.' Dean's best-remembered relationship was with young Italian actress, whom he met while Angeli was shooting (released in 1955) on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens.

Angeli, during an interview fourteen years after their relationship ended, described their times together: We used to go together to the California coast and stay there secretly in a cottage on a beach far away from prying eyes. We'd spend much of our time on the beach, sitting there or fooling around, just like college kids. We would talk about ourselves and our problems, about the movies and acting, about life and life after death. We had a complete understanding of each other. We were like, together and inseparable.

Sometimes on the beach we loved each other so much we just wanted to walk together into the sea holding hands because we knew then that we would always be together.: 196 In his autobiography, East of Eden, director dismissed the notion that Dean could possibly have had any success with women, although he remembered hearing Dean and Angeli loudly making love in Dean's dressing room. Kazan has been quoted saying about Dean, 'He always had uncertain relations with girlfriends.' Dean in 1955 Those who believed Dean and Angeli were deeply in love claim a number of forces led them apart. Angeli's mother disapproved of Dean's casual dress and what were, for her at least, radical behavior traits: his T-shirt attire, late dates, fast cars, and the fact that he was not a Catholic. Her mother said that such behavior was not acceptable in Italy. In addition, Warner Bros., where he worked, tried to talk him out of marrying and he himself told Angeli that he didn't want to get married.: 197, Dean's East of Eden co-star, claimed that Dean wanted to marry Angeli and was willing to allow their children to be brought up Catholic.

After finishing his role for East of Eden, he took a brief trip to New York in October 1954.: 197 While he was away, Angeli unexpectedly announced her engagement to Italian-American singer. The press was shocked and Dean expressed his irritation. Angeli married Damone the following month. Gossip columnists reported that Dean watched the wedding from across the road on his motorcycle, even gunning the engine during the ceremony, although Dean later denied doing anything so 'dumb.' Some, like William Bast and Paul Alexander, believe the relationship was a mere publicity stunt. Esme Chandlee, the publicist at Angeli's home studio who had kept news of her love affair with under wraps, believed that Angeli had been more smitten with Kirk than Jimmy Dean.

Pier Angeli talked only once about the relationship in her later life in an interview, giving vivid descriptions of romantic meetings at the beach. Dean biographer John Howlett said these read like wishful fantasies, as Bast claims them to be.

Joe Hyams, in his 1992 biography of Dean, claims that he visited Dean just as Angeli, then married to Damone, was leaving his home. Dean was crying and allegedly told Hyams she was pregnant, with Hyams concluding that Dean believed the child might be his. Angeli, who divorced Damone and then her second husband, the Italian film composer, was said by friends in the last years of her life to claim that Dean was the love of her life. She died from an overdose of barbiturates in 1971, at the age of 39. In 1997, the television movie Race with Destiny was produced, a true-story account of the love affair between Dean and Pier Angeli.

It was shot on location 'where he lived and loved' until his death. Actress details her relationship with Dean in New York in 1952. Speaking of the relationship in 1996, she said that it was 'just kind of magical.

It was the first love for both of us.' Sheridan published her memoir, Dizzy & Jimmy: My Life with James Dean; A Love Story in 2000.

Dean also dated Swiss actress. 'She was seen riding around Hollywood on the back of James's motorcycle,' writes biographer Darwin Porter. She was also seen with Dean in his sports cars, and was with him on the day he bought the car that he died in. At the time, Andress was also dating.

Dean and his Porsche Super Speedster 23F at Palm Springs Races March 1955 In 1954, Dean became interested in developing an career. He purchased various vehicles after filming for East of Eden had concluded, including a and a. Just before filming began on Rebel Without a Cause, he competed in his first professional event at the Palm Springs Road Races, which was held in on March 26–27, 1955. Dean achieved first place in the novice class, and second place at the main event. His racing continued in a month later, where he finished first in his class and third overall. Dean hoped to compete in the, but his busy schedule made it impossible.

Dean's final race occurred in on Memorial Day, May 30, 1955. Kaliyon Ka Chaman Video Download Free. He was unable to finish the competition due to a blown.

His brief career was put on hold when Warner Brothers barred him from all racing during the production of Giant. Dean had finished shooting his scenes and the movie was in post-production when he decided to race again. Accident and aftermath [ ]. • Frank Miller (28 September 2006).. Chronicle Books. • Obituary, October 5, 1955.

• Goodman, Ezra (September 24, 1956). 'Delirium over dead star'.. Kidder; Noah D. Oppenheim (14 October 2008).. Retrieved 21 July 2013. Dean was the first to receive a posthumous Academy Award nomination for acting and is the only actor to have received two such posthumous nominations. American Film Institute.

• Chris Epting (1 June 2009).. Stackpole Books. • ^ George C.

Perry (2005).. DK Publishing, Incorporated. • Michael DeAngelis (15 August 2001)..

Duke University Press. • Val Holley (September 1991).. Publications International. • Robert Tanitch (1997)..

• Marie Clayton (1 January 2004).. Barnes and Noble Books..

Harbin; Kim Marra; Robert A. Schanke (2005).. University of Michigan Press. • ^ See also Joe and Jay Hyams, James Dean: Little Boy Lost (1992), p.20, who present an account alleging Dean's molestation as a teenager by his early mentor DeWeerd and describe it as Dean's first homosexual encounter (although DeWeerd himself largely portrayed his relationship with Dean as a completely conventional one). • ^ Paul Alexander, Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean, Viking, 1994, p.

• Sessums, Kevin (March 23, 2011)... Retrieved March 24, 2011. • Michael Ferguson (2003).. STARbooks Press.

Archived from on July 13, 2010. Retrieved 2010-10-16. • Karen Clemens Warrick (2006).. Enslow Publishers, Inc.

• Richard Alleman (2005).. Broadway Books. • Joyce Chandler (27 September 2007).. London: The Times. March 6, 2005. Retrieved January 6, 2010.

UCLA School of Theater, Film and Television. Retrieved September 29, 2014. Retrieved 2010-10-16.

• Tony Curtis (6 October 2009).. Crown Publishing Group. Barton Palmer (2010).. Rutgers University Press. • David Wallace (1 April 2003).. Thorndike Press. • ^ • On Dean's relationship with Brackett, see also Hyams, James Dean: Little Boy Lost, p.79.

• Warrick, Karen Clemens (2006).. Enslow Publishers, Inc.

Retrieved 5 October 2016. • On Dean's relationship with Brackett, see also Hyams, James Dean: Little Boy Lost, p. • David Dalton (2001).. Chicago Review Press. • Claudia Springer (17 May 2013).. University of Texas Press. The Unabridged James Dean, 1991 • Michael J.

Meyer; Henry Veggian (2013).. • Holley, pp. • Rathgeb, Douglas L. The Making of Rebel Without a Cause.

Jefferson, N.C.: McFarland. • Bruce Levene (1994).. Pacific Transcriptions. • Karen Clemens Warrick (2006).. Enslow Publishers, Inc. • Perry 2005, p.

203 • Robert A. Osborne (1979)..

ESE California. • Murray Pomerance (2010). 'James Stewart and James Dean'. Barton Palmer.. Rutgers University Press. Hansom Books. • Claudia Springer (17 May 2013)..

University of Texas Press. • Kenneth Krauss (1 May 2014).. • Perry, George, James Dean, London, New York: DK Publishing, 2005, p. 68 ('Authorized by the James Dean Estate') • William Bast, James Dean: a Biography, New York: Ballantine Books, 1956 • ^, pp. 133, 183–232 • ^ Dalton, David. James Dean: The Mutant King: A Biography, Chicago Review Press (1974) p. 151 •, Mail Online, Sept. 13, 2011 •, Contactmusic.com, Nov.

25, 2011 • Michael DeAngelis, Gay Fandom and Crossover Stardom: James Dean, Mel Gibson and Keanu Reeves, p. American Film Institute. Archived from on March 5, 2016. Retrieved 18 June 2016.

• In his 1992 biography, James Dean: Little Boy Lost, Hollywood gossip columnist, who claims to have known Dean personally, devotes an entire chapter to Dean's relationship with Angeli. • Donnelley, Paul (2003). Fade to Black: A Book of Movie Obituaries. London, England: Omnibus Press. • ^ Allen, Jane (2002). Pier Angeli: A Fragile Life. Jefferson, NC: McFarland.

•, p. 196 • ^ Alexander, Paul, Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean, New York: Viking, 1994 •, p. 197 • John Howlett, James Dean: A Biography, Plexus 1997 • Greer, Germaine.. The Guardian. Retrieved 21 December 2014.

• ParanoidAndroidMarvin (October 3, 1997).. • Brris, George. Barris TV and Movie Cars, MotorBooks International (1996) p. 112 • Liz Sheridan, Dizzy & Jimmy (ReganBooks HarperCollins, 2000), pp.

• Lipton, Michael A.. Retrieved 20 December 2014. • • Porter, Darwin. Brando Unzipped, Blood Moon Productions, Ltd, (2006) p. 484 • Wasef and Leno (2007) pp. • ^ Raskin (2005) pp.

47–48; 68–71; 73–74; 78–81; 83–86 • Perry (2012) p. Retrieved 21 December 2014. • Raskin (2005) pp. • Raskin (2007) pp.

• ^ Perry (2012) pp. • Thomas Ammann; Stefan Aust (21 September 2012).. Bastei Entertainment. • Middlecamp, David (30 September 2005).. San Luis Obispo Tribune. Retrieved 6 October 2013. • Keith Elliot Greenberg (1 August 2015)..

Applause Theatre & Cinema Books. • ^ Perry (2012) pp. • Raskin (2005) p. • ^ Perry (2012) pp. 194–95 • Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Locations 6).

McFarland & Company, Inc., Publishers. Kindle Edition. • Beath (2005) p.

'All conjecture was improper. The facts were that Jimmy had been in his proper lane, there was no evidence that his speed was a factor in the crash, and the other driver had crossed over into Jimmy's right of way.' • Perry (2012) pp. 'The jury's verdict flew in the face of the accepted logic of highway accidents, which holds that when a left turn is executed in the face of oncoming traffic it is the turning driver who is responsible should a collision occur.' Roberts (2 October 2014).. Fashion Industry Broadcast. • Steve Chawkins (October 1, 2005)...

Archived from on October 25, 2013. Retrieved 21 December 2014. • Joe Hyams (1 January 1994).. Grand Central Pub.

• Marjorie B. Garber, Bisexuality and the Eroticism of Everyday Life (2000), p.140. See also 'Bisexuality and Celebrity.'

In Rhiel and Suchoff, The Seductions of Biography, p.18. • Perry, G., James Dean, p. 204, New York, DK Publishing, Inc., 2005 • David Burner, Making Peace with the 60s (Princeton University Press, 1997), p.244. • Lisa DiCarlo (October 25, 2004)..

Retrieved February 24, 2006. • James Monaco (1981).. Oxford University Press. • Robert Niemi (2 February 2016)..

Columbia University Press. Retrieved 2010-10-16. • Robert Paul Metzger (1 January 1989).. University of Pennsylvania Press. April 13, 1945.

Archived from on October 2, 2010. Retrieved October 16, 2010.

Peretti (1 February 1998).. One of them, Elvis Presley, brilliantly blended black blues and gospel with the white actor James Dean's movie persona. Shumway (19 January 2015). 'Rock Stars as Icons'. In Andy Bennett, Steve Waksman.. SAGE Publications. CS1 maint: Uses editors parameter () • ^ Lawrence Frascella; Al Weisel (4 October 2005)..

Simon and Schuster. • Ralph Brauer (1989). 'Iconic Modes: The Beatles'. In Timothy E. Popular Press. • Yuwu Song (26 March 2015). 'James Dean (1931–1955)'.

In Gina Misiroglu.. • Nicholas Ray (10 September 1993).. University of California Press. • ^ Peter Winkler; George Stevens (1 August 2016).. Chicago Review Press. Beath (1 December 2007)..

Grove/Atlantic, Incorporated. • Robert Tanitch (30 October 2014).. Pavilion Books. • Claudia Springer (17 May 2013).. University of Texas Press. • Wayne Robins (31 March 2016)..

Dwyer (10 June 2015).. Oxford University Press. • Joel Dinerstein (17 May 2017).. University of Chicago Press. • Peter Guralnick (20 December 2012)..

Little, Brown. • Doug Owram (June 1997)..

University of Toronto Press. The sense of alienation from society and distrust of authority that was inherent in the leather jacket of James Dean or the blue jeans of Elvis Presley was incorporated into the modern sensibility of youth • Stephen Glynn (7 May 2013). 'The Primitive Pop Music Film: Coffee Bars, Cosh Boys and Cliff'.. Palgrave Macmillan UK. • Wayne Robins (31 March 2016).. • Jason Gross (1 October 2012).

In Joe Bonomo.. Press of Mississippi. • Paul Anthony Johnson; Will Scheibel (1 February 2014). 'You Can't Be a Rebel If You Grin': Masculinity, Performance, and Anxiety in 1950s Rock-and-Roll and the Films of Nicholas Ray'.

In Steven Rybin, Will Scheibel.. • John Howlett (1 November 2016).. Plexus Publishing.

• Marc Spitz (October 2010).. Ghetto Whisky Riddim RARE on this page. • Lee Marshall (24 April 2013).. John Wiley & Sons.

• David Dalton (2001).. Chicago Review Press. • David Dalton (1 June 2012).. Omnibus Press. • Bob Spitz (1991)..

Genius Media Group. Archived from on July 13, 2016. Retrieved November 10, 2017. • Larry Birnbaum (14 December 2012).. Scarecrow Press. Genius Media Group. Archived from on February 18, 2017.

Retrieved November 10, 2017. • Sam Riley (2010).. Genius Media Group. Archived from on December 4, 2015.

Retrieved November 10, 2017. • Keith Elliot Greenberg (1 August 2015).. Applause Theatre & Cinema Books. • ^ Garry Wotherspoon and Robert F.

Aldrich, Who's Who in Gay and Lesbian History: from Antiquity to World War II (Routledge, 2001), p.105. • Randall Riese (1991).. • William Bast, James Dean: a Biography, New York: Ballantine Books, 1956. • Riese, Randall, The Unabridged James Dean: His Life from A to Z, Chicago: Contemporary Books, 1991, pp. 41, 238 • Alexander, Paul, Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean, New York: Viking, 1994, p.

87 •, pp. 133, 150, 183 • Donald Spoto, Rebel: The Life and Legend of James Dean (HarperCollins, 1996), pp.150–151. See also Val Holley, James Dean: The Biography, pp.6, 7, 8, 78, 80, 85, 94, 153. • John Gilmore (1997).. Thunder's Mouth Press.

• See Lawrence Frascella and Al Weisel, Live Fast, Die Young – The Wild Ride of Making Rebel Without a Cause. • George Perry, James Dean, DK Publishing 2005 •.

• GLAAD (2011-03-25),, retrieved 2017-12-17 •. Retrieved 2010-10-16. • hotfriend1.. Retrieved April 25, 2011. Retrieved 2010-10-16. Retrieved 2010-10-16. Retrieved 2014-07-11.

September 25, 2005. Retrieved 2010-10-16. January 12, 2012. Retrieved November 27, 2012. Further reading [ ]. • Alexander, Paul: Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean. Viking, 1994.

• Bast, William: James Dean: A Biography. Ballantine Books, 1956. • Bast, William (2006). Surviving James Dean. New Jersey: Barricade Books.. • Beath, Warren: Death of James Dean. Grove Press, 1986.

• Beath, Warren, with Wheeldon, Paula; James Dean in Death: A Popular Encyclopedia of a Celebrity Phenomenon, McFarland & Co., Inc., 2005. • Dalton, David: James Dean-The Mutant King: A Biography. Chicago Review Press, 2001.

• DeAngelis, Michael (2001). Gay Fandom and Crossover Stardom: James Dean, Mel Gibson, and Keanu Reeves. Durham: Duke University Press..

• Frascella, Lawrence and Weisel, Al: Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause. Touchstone, 2005. • Gilmore, John: Live Fast-Die Young: Remembering the Short Life of James Dean. Thunder's Mouth Press, 1998. • Gilmore, John: The Real James Dean. Pyramid Books, 1975. • Heinrichs, Steve; Marinello, Marco; Perrin, Jim; Raskin, Lee; Stoddard, Charles A; Zigg, Donald; Porsche Speedster TYP540: Quintessential Sports Car, 2004, Big Lake Media, Inc.

• Holley, Val: James Dean: The Biography. Martin's Griffin, 1996. • Turiello, James: The James Dean Collection, 1993. Biography on fifty trading cards with photographs from The James Dean Gallery in Fairmount Indiana.

• Hopper, Hedda and Brough, James: in The Whole Truth and Nothing But. • Howell, John: James Dean: A Biography. Plexus Publishing, 1997. Second Revised Edition. • Hyams, Joe; Hyams, Jay: James Dean: Little Boy Lost. Time Warner Publishing, 1992.

• Martinetti, Ronald: The James Dean Story, Pinnacle Books, 1975. James Dean is Not Dead. Manchester: Babylon Books.. • Perry, George: James Dean. DK Publishing, 2005. • Riese, Randall: The Unabridged James Dean: His Life from A to Z.

Contemporary Books, 1991. • Raskin, Lee: James Dean: At Speed. David Bull Publishing, 2005. • Sheridan, Liz: Dizzy & Jimmy: My Life With James Dean: A Love Story. HarperCollins Canada / Harper Trade, 2000. • Spoto, Donald: Rebel: The Life and Legend of James Dean.

HarperCollins, 1996. External links [ ].

An introduction to the theory and practice of second language research for graduate/Master's students in TESOL and Applied Linguistics, and others. There are now many introductions to language research available. What makes Doing Second Language Research different and special is that it puts you inside the research process. It does this by giving you different roles within a An introduction to the theory and practice of second language research for graduate/Master's students in TESOL and Applied Linguistics, and others.

There are now many introductions to language research available. What makes Doing Second Language Research different and special is that it puts you inside the research process. It does this by giving you different roles within a variety of mini-studies. This means you can get a feel for what it's like to be a research subject, research organizer, research data collector, research data analyst, and research reporter. All of this is meant to help you prepare for the final goal of designing your own research. The book is organized into four parts: - Part One is a general introduction to the nature of research. - Part Two covers qualitative research and contains chapters on case study research, introspection research (use of verbal protocols), and classroom research (interaction analysis).

- Part Three covers quantitative research and contains chapters on descriptive statistics research (survey analysis), correlational research (into language learning and teaching attitudes), and quasi-experimental research (into vocabulary learning techniques). - Part Four consists of a concluding chapter on course evaluation and combining research types. Like other books in this series, Doing Second Language Research is designed to bridge the gap between theory and practice.

To help achieve this balance, each chapter is organized into the following sections: 1. Introducing the research type 2. Experiencing the research type 3. Compiling the data generated by the research type 4. Analysing the data generated by the research type 5. Designing the research type 6. Interpreting the research type 7.

Significance of the research type 8. Reflecting on the research experience Two of the chapters (2 and 8) also have sections on reporting research results.

There is a content summary at the end of each chapter, numerous exercises with an accompanying answer key, and a glossary of key terms. James Dean Brown, Professor on the graduate faculty of the Department of Second Language Studies at the University of Hawaii at Manoa, specializes in the areas of language testing, curriculum design, program evaluation, and research methods. Professor Brown has taught extensively in France, the People's Republic of China, Saudi Arabia, Japan, Brazil, Venezuela, and the United States (in California, James Dean Brown, Professor on the graduate faculty of the Department of Second Language Studies at the University of Hawaii at Manoa, specializes in the areas of language testing, curriculum design, program evaluation, and research methods. Professor Brown has taught extensively in France, the People's Republic of China, Saudi Arabia, Japan, Brazil, Venezuela, and the United States (in California, Florida, and Hawaii).

He has served on the editorial boards of the TESOL Quarterly, JALT Journal, and Language Testing as well as on the TOEFL Research Committee, TESOL Advisory Committee on Research, and the Executive Board of TESOL.