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This book is a synthesis of important topics in studying multilingualism: dynamic multilingualism, translanguaging, language policy, bilingual education, and bilingualism and cognition. The author as an immigrant herself integrated personal and dramatic experiences around most of the topics to show how they influence the lives of immigrants around the globe. The author’s aim is to reach the readers in a personal way. The issue of translanguaging and social justice is crucial for the book. The studies on bilingualism and cognition give amazing results on how bilingual children profit from increased metalinguistic awareness, abstract thinking, creativity, working memory, attention control, to name just a few. Bilingualism is shown to be a real gift for human understanding. The original feature of this book is the integration of excerpts of the interviews the author conducted with the experts in the field of bilingualism: Ellen Bialystok, Jim Cummins, Ofelia Garcí a, Christine He lot, Nancy Hornberger, and Catherine Snow. For each topic their opinions are combined with future directions in the research on bilingualism that can certainly inspire other researchers in the field. Finally, this book is called Drama of Multilingualism: Literature Review and Liberation, and it is exactly that, informing and affecting those who want to embark on this dramatic journey of exploring multilingualism.
No literary tradition in early modern Europe was as obsessed with the interaction between the native tongue and its dialectal variants, or with ‘foreign’ languages and the phenomenon of ‘translation’, as English Renaissance drama. Originally published as a themed issue of English Text Construction 6:1 (2013), this carefully balanced collection of essays, now enhanced with a new Afterword, decisively demonstrates that Shakespeare and his colleagues were far more than just ‘English’ authors and that their very ‘Englishness’ can only be properly understood in a broader international and multilingual context. Showing a healthy disrespect for customary disciplinary borderlines, Multilingualism in the Drama of Shakespeare and his Contemporaries brings together a wide range of scholarly traditions and vastly different types of expertise. While several papers venture into previously uncharted territory, others critically revisit some of the loci classici of early modern theatrical multilingualism such as Shakespeare’s Henry V.
This is a book about languages and the people who love them. Sophie Hardach is here to guide us through the strange and wonderful ways that humans have used languages throughout history. She takes us from the earliest Mesopotamian clay tablets and the 'book cemeteries' of medieval synagogues to the first sounds a child hears in their mother's womb and their incredible capacity for language learning. Along the way, Hardach explores the role of trade in transmitting words across cultures and untangles riddles of hieroglyphics, cuneiform and the ancient scripts of Crete and Cyprus. This is a book about languages, the people who love them and the linguistic threads that connect us all. 'Impeccably researched and engagingly presented... Sophie Hardach tells wonderful stories about words that have travelled vast distances in space and time to make English what it is' David Bellos, author of Is That a Fish in Your Ear? Translation and the Meaning of Everything
What does another language do to the individual who learns and uses it? How is the individual's idea of self affected by the other language? This case study deals with these two overarching questions within the context of learning English as a foreign language through drama at a German upper-secondary school in South Tyrol. It investigates how the students see themselves in their roles, how they perceive themselves as users of the foreign language, and how they experience themselves in-role in another language. The results show how powerful drama-based activities can be and what educational impact they have.
Multilingualism is a meaningful and capacious idea about human meaning-making practice, one with a promising, tumultuous, and flawed present - and a future worth caring for in research and public life. In this book, David Gramling presents original new insights into the topical subject of multilingualism, describing its powerful social, economic and political discourses. On one hand, it is under acute pressure to bear the demands of new global supply-chains, profit margins, and supranational unions, and on the other it is under pressure to make way for what some consider to be better descriptors of linguistic practice, such as translanguaging. The book shows how multilingualism is usefully able to encompass complex, divergent, and sometimes opposing experiences and ideas, in a wide array of planetary contexts - fictitious and real, political and social, North and South, colonial and decolonial, individual and collective, oppressive and liberatory, embodied and prosthetic, present and past.
This book is both research report and performance piece. Here is a team of researchers as they study communication on the volleyball court. And here are the voices and actions of the volleyball coach and his players as they practise and play. Research in process and research findings are represented in a play script which brings vividly to life both ethnographic research methods and communication in the world of sport. This highly original book adds innovation and imagination to the representation of language in social life.
This volume considers the linguistic complexities associated with Shakespeare’s presence in South Africa from 1801 to early twentieth-first century televisual updatings of the texts as a means of exploring individual and collective forms of identity. A case study approach demonstrates how Shakespeare’s texts are available for ideologically driven linguistic programs. Seeff introduces the African Theatre, Cape Town, in 1801, multilingual site of the first recorded performance of a Shakespeare play in Southern Africa where rival, amateur theatrical groups performed in turn, in English, Dutch, German, and French. Chapter 3 offers three vectors of a broadening Shakespeare diaspora in English, Afrikaans, and Setswana in the second half of the nineteenth century. Chapter 4 analyses André Brink’s Kinkels innie Kabel, a transposition of Shakespeare’s The Comedy of Errors into Kaaps, as a radical critique of apartheid’s obsession with linguistic and ethnic purity. Chapter 5 investigates John Kani’s performance of Othello as a Xhosa warrior chief with access to the ancient tradition of Xhosa storytellers. Shakespeare in Mzansi, a televisual miniseries uses black actors, vernacular languages, and local settings to Africanize Macbeth and reclaim a cross-cultural, multilingualism. An Afterword assesses the future of Shakespeare in a post-rainbow, decolonizing South Africa. Global Sha Any reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.
This book applies a descriptive and multimodal methodology for the analysis of multilingual TV series with recurrent use of foreign languages in order to examine the role of multilingualism in the audiovisual products analysed. It also explores whether and how dubbing affects the plot and characterisation of original TV series, while its focus on Italian dubbing provides more detailed and specific insight into the phenomenon.
Creative Multilingualism: A Manifesto is a welcome contribution to the field of modern languages, highlighting the intricate relationship between multilingualism and creativity, and, crucially, reaching beyond an Anglo-centric view of the world.
This book explores the emergence and development of multilingual fiction series, a relatively new phenomenon propelled by the globalization of media industries and the consolidation of streaming platforms as central vectors in the production and consumption of audiovisual entertainment content. Through a detailed analysis of thriller, sitcom, and drama series, the book proposes an original qualitative and quantitative research methodology for the study of on-screen multilingual encounters, examining the relationship between multilingual speech and genre conventions. The book covers fiction series beyond English-speaking countries: alongside American productions, the analysis covers TV shows from Europe, Latin America, and the Middle East region. This interdisciplinary and original volume will interest scholars and students in film studies and media studies working on global media, as well as communication studies, television studies, sociolinguistics, media and cultural industries, and translation studies.