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These essays bring home the most challenging observations of postmodernism-multiple identities, the fragility of meaning, the risks of communication. Sommer asserts that many people normally live-that is, think, feel, create, reason, persuade, laugh-in more than one language. She claims that traditional scholarship (aesthetics; language and philosophy; psychoanalysis, and politics) cannot see or hear more than one language at a time. The goal of these essays is to create a new field: bilingual arts & aesthetics which examine the aesthetic product produced by bilingual diasporic communities. The focus of this volume is the Americas, but examples and theoretical proposals come from Europe as well. In both areas, the issue offers another level of complexity to the migrant and cosmopolitan character of local societies in a global economy.
DIVAn analysis of the changing status of bi- and multi-lingualness in relation to issues of citizenship, ethnicity, and diversity./div
Do bi- and multilinguals perceive themselves differently in their respective languages? Do they experience different emotions? How do they express emotions and do they have a favourite language for emotional expression? How are emotion words and concepts represented in the bi- and multilingual lexicons? This ground-breaking book opens up a new field of study, bilingualism and emotions, and provides intriguing answers to these and many related questions.
In American Migrant Fictions: Space, Narrative, Identity, Sonia Weiner focuses on novels of five American migrant writers of the late twentieth and early twenty-first centuries, who construct spatial paradigms within their narratives to explore questions of linguistic diversity, identities and be-longings. By weaving visual techniques within their narratives (photography, comics, cartography) authors Aleksandar Hemon, G.B. Tran, Junot Díaz, Boris Fishman and Vikram Chandra convey a surplus of perspectives and gesture towards alternative spaces, spatial in-between-ness and transnational space.
How do (im)migrant writers negotiate their representation of a multilingual world for a monolingual audience? Does their English betray the presence of another language, is that other language erased, or does it appear here and there, on special occasions for special reasons? Do words and meanings wander from one language and one self to another? Do the psychic and cultural worlds of different languages split apart or merge? What is the aesthetic effect of such wandering, splitting, or merging? Usually described as “code-switches” by linguists, fragments of other languages have wandered into American literature in English from the beginning. Wanderwords asks what, in the memoirs, poems, essays, and fiction of a variety of twentieth and twenty first century writers, the function and meaning of such language migration might be. It shows what there is to be gained if we learn to read migrant writing with an eye, and an ear, for linguistic difference and it concludes that, freighted with the other-cultural meanings wrapped up in their different looks and sounds, wanderwords can perform wonders of poetic signification as well as cultural critique. Bringing together literary and cultural theory with linguistics as well as the theory and history of migration, and with psychoanalysis for its understanding of the multilingual unconscious, Wanderwords engages closely with the work of well-known and unheard-of writers such as Mary Antin and Eva Hoffman, Richard Rodriguez and Junot Díaz, Theresa Hak Kyung Cha and Bharati Mukherjee, Edward Bok and Truus van Bruinessen, Susana Chávez-Silverman and Gustavo Perez-Firmat, Pietro DiDonato and Don DeLillo. In so doing, a poetics of multilingualism unfolds that stretches well beyond translation into the lingual contact zone of English-with-other-languages that is American literature, belatedly re-connecting with the world.
The first introductory level textbook that comprehensively covers the psycholinguistic study of bilingualism and multilingualism, including traditional and brain-based approaches. Each chapter covers a key series of topics in clear, accessible language, and includes a description of the relevant methodological issues. It provides a valuable resources for students and researchers in psycholinguistics.
Literature is often assumed to be monolingual: publishing rights are sold on the basis of linguistic territories and translated books are assumed to move from one “original” language to another. Yet a wide range of contemporary literary works mix and meld two or more languages, incorporating translation into their composition. How are these multilingual works translated, and what are the cultural and political implications of doing so? In Literature in Motion, Ellen Jones offers a new framework for understanding literary multilingualism, emphasizing how authors and translators can use its defamiliarizing and disruptive potential to resist conventions of form and dominant narratives about language and gender. Examining the connection between translation and multilingualism in contemporary literature, she considers its significance for the theory, practice, and publishing of literature in translation. Jones argues that translation does not conflict with multilingual writing’s subversive potential. Instead, we can understand multilingualism and translation as closely intertwined creative strategies through which other forms of textual and conceptual hybridity, fluidity, and disruption are explored. Jones addresses both well-known and understudied writers from across the American hemisphere who explore the spaces between languages as well as genders, genres, and textual versions, reading their work alongside their translations. She focuses on U.S. Latinx authors Susana Chávez-Silverman, Junot Díaz, and Giannina Braschi, who write in different forms of “Spanglish,” as well as the Brazilian writer Wilson Bueno, who combines Portuguese and Spanish, or “Portunhol,” with the indigenous language Guarani, and whose writing is rendered into “Frenglish” by Canadian translator Erín Moure.
Focusing on piracy in the seventeenth century, filibustering in the nineteenth century, intracolonial migrations in the 1930s, metropolitan racializations in the 1950s and 1960s, and feminist redefinitions of creolization and sexile from the 1940s to the 1990s, this book redefines the Caribbean beyond the postcolonial debate.
Monolingualism is bad; literature is good - right? For many of us monolingualism is associated with closed-mindedness, political nationalism, and a general hostility to diverse knowledges and experiences of the world. In contrast, literature continues to stand allegedly unbeholden, as a symbolic beacon for expansive human expression and insight - making meaning astride Earth's thousands of human languages. But what if this division of virtue and vice isn't quite right, leading us to overlook the uninterrupted historical and aesthetic collusion between political monolingualism and literary novels today? What if novels made in a European mold tend to be much more indebted to monolingual structures, ideologies, and styles than their publishers, and even their critics, care to acknowledge? Instead of whistling past such a discomfort, Literature in Late Monolingualism recognizes it squarely - detailing the important ways in which many authors of contemporary novels do so too. As it turns out, these authors and their novels tend to be far less skittish than their marketers are about the vast implications of monolingualism in literature, literary critique, and civic life. Rather than rebuking monolingualism as a social vice or a personal shortcoming, authors from China Miéville to Dorthe Nors to Karin Tidbeck to Neal Stephenson investigate it dauntlessly, aiming to show us in vivid terms how monolingualism is still often calling the shots in our globalized aesthetic and political cultures today.