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This book examines one-way foreign language immersion education in the United States. It provides a clear and rich description of a Chinese (Mandarin) immersion program, its curriculum, instructional materials, assessment activities, parental involvement and student outcomes. The author analyses two studies that document the development of the students’ reading skills in English and Chinese, and the progress of their vocabulary knowledge, lexical inference, and reading comprehension in Chinese. In addition, this book contextualizes the program in its eco-system, including its neighbourhood, school, and the school district, and discusses the importance of school leadership, parental involvement, neighbourhood support and language acquisition planning in making an innovative school program successful. Its concluding chapters offer recommendations for program- and classroom-level practices and suggest pathways for future research on biliteracy learning in Chinese one-way immersion programs. This book will appeal in particular to students and scholars of applied linguistics, second language acquisition and language education.
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In the more than 3,000 years since its invention, the Chinese script has been adapted many times to write languages other than Chinese, including Korean, Vietnamese, Japanese, and Zhuang. In Sinography: The Borrowing and Adaptation of the Chinese Script, Zev Handel provides a comprehensive analysis of how the structural features of these languages constrained and motivated methods of script adaptation. This comparative study reveals the universal principles at work in the borrowing of logographic scripts. By analyzing and explaining these principles, Handel advances our understanding of how early writing systems have functioned and spread, providing a new framework that can be applied to the history of scripts beyond East Asia, such as Sumerian and Akkadian cuneiform.
A central theme in the history of Old Regime authorship highlights the opportunities offered by a growing book trade to writers seeking to free themselves from patrons and live "by the pen." Accounts of this passage from patronage to market have explored in far greater detail the opportunities themselves—the rising sums paid by publishers and the progression of laws protecting literary property—than how and why writers would have seized on them, no doubt because the choice to do so has seemed an obvious or natural one for writers assumed to prefer economic self-sufficiency over elite protection. In The Literary Market, Geoffrey Turnovsky claims that there was nothing obvious or natural about the choice. Writers had been involved in commercial book publication since the earliest days of the printing press, yet had not necessarily linked these activities with their freedom to think and write. The association of autonomy and professionalism was forged, not given. Analyzing the literary market as a key articulation of the association, Turnovsky explores how in eighteenth-century polemics a rhetoric of commercial authorship came to signify independence for intellectuals. He finds the roots of the connection not in the claims of entrepreneurial writers to rights and income but in a world to which that of the modern author has been contrasted: the aristocratic culture of the seventeenth century. Aristocratic culture, he argues, generated a disparaging view of the professional author as one defined by activities tainting him or her as greedy and arrogant and therefore unworthy of protection and socially isolated. The Literary Market examines the story of the "birth of the author" in terms of the revalorization of this negative trope in Enlightenment-era debates about the radically changing role of writers in society.
Two girls on opposite sides of a war discover they're fighting for a common purpose—and falling for each other—in Zoe Hana Mikuta's high-octane debut Gearbreakers, perfect for fans of Pacific Rim, Pierce Brown's Red Rising Saga, and Marie Lu's Legend series. We went past praying to deities and started to build them instead... The shadow of Godolia's tyrannical rule is spreading, aided by their giant mechanized weapons known as Windups. War and oppression are everyday constants for the people of the Badlands, who live under the thumb of their cruel Godolia overlords. Eris Shindanai is a Gearbreaker, a brash young rebel who specializes in taking down Windups from the inside. When one of her missions goes awry and she finds herself in a Godolia prison, Eris meets Sona Steelcrest, a cybernetically enhanced Windup pilot. At first Eris sees Sona as her mortal enemy, but Sona has a secret: She has intentionally infiltrated the Windup program to destroy Godolia from within. As the clock ticks down to their deadliest mission yet, a direct attack to end Godolia's reign once and for all, Eris and Sona grow closer—as comrades, friends, and perhaps something more... Praise for Gearbreakers: "An absolute joyride ... Zoe Hana Mikuta is a talent to be in awe of." —Chloe Gong, New York Times-bestselling author of These Violent Delights "Dark, fierce, thrilling, and tender, Gearbreakers will make your blood sing." —Nina Varela, author of Crier's War
In late nineteenth-century South Asia, the arrival of print fostered a dynamic and interactive literary culture. There, within the pages of Urdu-language periodicals and newspapers, readers found a public sphere that not only catered to their interests but encouraged their reactions to featured content. Cosmopolitan Dreams brings this culture to light, showing how literature became a site in which modern daily life could be portrayed and satirized, the protocols of modernity challenged, and new futures imagined. Drawing on never-before-translated Urdu fiction and prose and focusing on the novel and satire, Jennifer Dubrow shows that modern Urdu literature was defined by its practice of self-critique and parody. Urdu writers resisted the cultural models offered by colonialism, creating instead a global community of imagination in which literary models could freely circulate and be readapted, mixed, and drawn upon to develop alternative lines of thinking. Highlighting the participation of readers and writers from diverse social and religious backgrounds, the book reveals an Urdu cosmopolis where lively debates thrived in newspapers, literary journals, and letters to the editor, shedding fresh light on the role of readers in shaping vernacular literary culture. Arguing against current understandings of Urdu as an exclusively Muslim language, Dubrow demonstrates that in the late nineteenth century, Urdu was a cosmopolitan language spoken by a transregional, transnational community that eschewed identities of religion, caste, and class. The Urdu cosmopolis pictured here was soon fractured by the forces of nationalism and communalism. Even so, Dubrow is able to establish the persistence of Urdu cosmopolitanism into the present and shows that Urdu’s strong tradition as a language of secular, critical modernity did not end in the late nineteenth century but continues to flourish in film, television, and on line. In lucid prose, Dubrow makes the dynamic world of colonial Urdu print culture come to life in a way that will interest scholars of modern Asian literatures, South Asian literature and history, cosmopolitanism, and the history of print culture.
Can language hide thoughts? This question is considered by one of Europe's most eminent scholars in his influential essay "Linguistics of Lying," presented here for the first time in English, along with additional essays selected by the author. His survey of the different ways in which language is untrue links linguistic and literary categories in unexpected fashion to anthropology, sociology, ethics, and even good manners.
Reflecting varieties of theory and practice in both verse and prose from the Middle Ages to the twenty-first century, these essays by many of America's leading literary scholars call for a reinvigorated formalism that can enrich literary studies, open productive routes of commerce with cultural studies, and propel cultural theory out of its thematic ruts. This book reprints Modern Language Quarterly's highly acclaimed special issue Reading for Form, along with new essays by Marjorie Perloff, D. Vance Smith, and Susan Stewart, and a revised introduction by Susan Wolfson. With historical case studies and insightful explorations, Reading for Form offers invaluable material for literary critics in all specializations.
Situated on Europe’s northern periphery, Denmark, Finland, Iceland, Norway, and Sweden found themselves caught between warring powers during World War II. Ultimately, these nations survived the conflict as sovereign states whose wartime experiences have profoundly shaped their historiography, literature, cinema and memory cultures. Nordic War Stories explores the commonalities and divergences among the five Nordic countries, examining national historiographies alongside representations of the war years in canonical literary works, travel writing, and film media. Together, they comprise a valuable companion that challenges the myth of Scandinavian homogeneity while demonstrating the powerful influence that the war continues to exert on national identities.