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Mehrsprachigkeiten (E-Book)

hep verlag | Forum Hochschuldidaktik und Erwachsenenbildung


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An Hochschulen und auf der Sekundarstufe II begegnen Lehrende und Lernende zahlreichen Sprachen – und dies keineswegs nur in den Sprachfächern. Wie erleben sie das Miteinander von beispielsweise Englisch, Albanisch, Schweizerdeutsch und Berufssprache? Wie können Lehrende sprachfördernd und professionell auf die Mehrsprachigkeit reagieren? Und wie kann diese Vielfalt positiv eingesetzt und genutzt werden? Beiträge aus der Sprach- und Hochschuldidaktik sowie Praxisberichte zeigen wirklichkeitsnahe Möglichkeiten auf, aber auch die Grenzen im Umgang mit Mehrsprachigkeit.

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Prof. Dr., Senior Lecturer, Gründerin des Schreibzentrums PH Zürich. Arbeitsschwerpunkte: Schreibberatung, Deutschdidaktik, Schlüsselkompetenz Schreiben in Hochschulen und Schulen. Themen: Schreiben und Affekt, Schreiben-Denken-Lernen, Gender, politische Bildung, Hochschuldidaktik

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lic. phil I, Dozentin an der PH Zürich, dipl. Gymnasial- und Berufsfachschullehrerin. Langjährige Unterrichtserfahrung an der Sekundarstufe II. Arbeitsschwerpunkte: Bilingualer Unterricht und Mehrsprachigkeit, internationale Bildungsarbeit. 

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lic. phil. I, Dozentin an der PH Zürich. Arbeitsschwerpunkte: Arbeit mit Bildungsbenachteiligten sowie Coaching von Lehr- und Führungspersonen. Entwicklung und Leitung verschiedener CAS-Lehrgänge in diesen Bereichen. 

 
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All the Gold Hurts My Mouth

Goose Lane Editions


Winner, 2017 ReLit Award

Katherine Leyton's fresh and vibrant debut collection takes on the sexual politics of the twenty-first century, boldly holding up a mirror to the male gaze and interrogating the nature of images and illusions.

Confronting the forces of mass communication — whether television, movies, or the Internet — Leyton explores the subtle effects of the media on our perceptions and interactions, including the pain of alienation and the threat of violence simmering just below the surface.

And yet, for all its unflinching and raw lyricism, the poetry of All the Gold Hurts My Mouth is warm and searching, full of humour and hope. Engaging her readers with lush vocabulary and spare, tightly controlled forms, Leyton's poems become a rich quest for identity, authenticity, and nature uncorrupted. Reaching gloriously from isolation and pain to connection with love, Leyton channels the wit of feminists past to create a manifesto for our time, an affirmation of what might be possible.

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"Leyton's voice is both enigmatic and unabashed, delving into the mysteries of selfhood while offering a vivid meditation on what it means to be a woman alive today. A fearless, urgent, and beautifully wrought debut."

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"An outstanding debut, filled with complicated yet still vivid imagery. Leyton's lines lift off the page to throttle you."

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"In this fierce debut, Leyton explores women as palaces and grand pianos, gleaming objects admired and shattered. Through her lyrically exuberant voice, whirring with musicality and subversive jabs, art becomes a looking glass. Just as 'women hum to drown their hunger,' these poems bring the salve of self-creation to their reader."

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"Katherine Leyton debuts with a brash, provocative collection centred around how women are seen by men, as expressed in popular culture, and how women internalize that male gaze."

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Katherine Leyton was the inaugural writer-in-residence at the Al & Eurithe Purdy A-Frame in the summer of 2014. Her poetry and non-fiction have appeared in numerous publications, including the Malahat Review, Hazlitt, the Globe and Mail, and the Edinburgh Review. She is also the founder of the highly unorthodox video poetry blog, HowPedestrian.ca. A native of Toronto, Leyton has lived in Rome, Montreal, Edinburgh, and Forli.

 
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Agony

BookThug


Agony is the first in a trilogy of long confessional poems. It uses semi-rigorous mathematical and logical constraints to view the author's life and body, telescopically, as little bits of time and space. Everything written here is as true as possible – that is to say, pretty true. It attempts autobiography as a refutation of autobiography, and an elevation of the self as self-effacement. Love pops up as a theme quite a bit. So does self-mutilation, etc. There are a lot of numbers, but don't worry, it's more about politics and fantasy than numbers, even though, as usual, they show up everywhere. Just like pieces of your body after you've cut them off and scattered them all over the world, and then go out looking for them again, for some reason.

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Praise for Agony:

Steven Zultanski’s Agony is a guide to making millions with a startup that puts human faces (literally) on the windows of suburban homes. The key word here is “literally:” the literal is Zultanski’s most important discovery, a reinvention of Shklovsky’s “making strange” for a tertiary age, a time when the language of metaphor has been zombified (after first being deadened and then deconstructed). In a manner that parodies and surpasses the lunacy of American pundits, Zultanski leads us on a mathematical journey into the volume of humanity’s tears and saliva exchange in kisses, and the square-footage of breasts and pet-intestines to explore the Markson-esqe, Mobius sociality of the solipsistic self. This unabashed autobiography, told through a hyperbolic argot of tax-code and quantum physics, is a sacrifice that atones for the banality it is born of (QED). Using the body as a literal yard-stick – its intimate history of inspirations and exhalations, excretions and accretions, pressed flat against the world, as a face against a window – this book leads the advance attack on the insipid dehumanization performed by standards of measure, statistics, and self-help. Call it conceptualism, lyricism, the new literality, or agonic financial planning – whatever it is, Agony is not for the faint of heart.

— Matvei Yankelevich

The best way to enjoy Steven Zultanski’s Agony is to remove your skin, including your facial skin, and spill into the mathematical calculations of how many cubic inches of human tears it takes to fill a fountain. When you put your skin back on and go outside for a walk, you'll realize that the lyric poem has just endured a substantial 21st century upgrade.

— Robert Fitterman

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Steven Zultanski is the also the author of Pad and Cop Kisser. He co-curates the Segue Reading Series and occasionally curates and edits other things too. He lives in New York City.

 
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Jouer la traduction

Les Presses de l'Université d'Ottawa | Regards sur la traduction


Contrairement au théâtre québécois, où le bilinguisme est mis en scène de manière intermittente, celui qui provient de ses marges fait du bilinguisme une pratique courante. Les écrivains franco-canadiens – ceux de l’Ouest canadien, de l’Ontario et de l’Acadie – racontent et montent différentes histoires de diglossie et de bilinguisme et jouent le jeu de la littérature en y démultipliant la traduction dans la forme comme dans le contenu. 

L’ « hétérolinguisme » – c’est-à-dire l’inscription de la variabilité linguistique – de ces pièces de théâtre franco-canadiennes est le plus souvent compréhensible pour les lecteurs et les publics bilingues locaux. Néanmoins, la diffusion de telles pièces et, par ricochet, leur légitimation auprès des métropoles théâtrales canadiennes au fonctionnement surtout unilingue, auront à passer par des traductions en supplément à celles auxquelles leurs jeux bilingues leur permettent déjà de s’adonner. Il est possible que, pour atteindre la légitimation par les institutions dominantes grâce à la traduction, « les cultures de l’exiguïté sacrifient ce qu’elles possèdent de plus radicalement créateur1 », c’est-à-dire l’inscription du traduisible et l’hétérolinguisme ludique. De l’autre, parmi les traductions additionnelles qui découlent de ces processus de diffusion et de légitimation, la réinscription supplémentaire ou ludique du traduisible pourrait être tout aussi radicalement créatrice que son inscription première. 

Une analyse percutante, actuelle, de la circulation, en traduction, de la production théâtrale de l’Ouest canadien francophone, de l’Ontario français et de l’Acadie, qui prend des allures de terrain de jeu pour le français et l’anglais. 

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Jouer la traduction is a substantial work of theatre scholarship that

brings together a critical history of marginalized Franco-Canadian theatre

since 1975, with a probing exploration and analysis of heterolinguistic play

and ludic theatrical translation. Situated in relation both to translation

theory and to dominant models of bilingualism in Canada, Nolette’s study shows

how bilingual theatre and ludic translation can expose and unsettle the

sedimented silence and mistrust that lingers in the intersections of French-

and English-speaking communities, especially in minority situations.

 
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A Journey in Translation

University of Ottawa Press | Canadian Literature Collection


This book traces the remarkable journey of Hébert’s shifting authorial identity as versions of her work traveled through complex and contested linguistic and national terrain from the late 1950s until today. At the center of this exploration of Hébert’s work are the people who were inspired by her poetry to translate and more widely disseminate her poems to a wider audience.

Exactly how did this one woman’s work travel so much farther than the vast majority of Québécois authors? Though the haunting quality of her art partly explains her wide appeal, her work would have never traveled so far without the effort of scores of passionately committed translators, editors, and archivists. Though the work of such “middle men” is seldom recognized, much less scrutinized as a factor in shaping the meaning and reach of an artist, in Herbert’s case, the process of translating Hébert’s poetry has left in its wake a number of archival and other paratextual resources that chronicle the individual acts of translation and their reception.

Though the impact of translation, editions, and archival work has been largely ignored in studies of Canadian literary history, the treasure trove of such paratextual records in Hébert’s case allows us to better understand the reach of her work. More importantly, it provides insight into and raises critical questions about the textually mediated process of nation-building and literary canon formation.

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Lee Skallerup Bessette is an instructional technology specialist in the Division of teaching and Learning Technology at the University of Mary Washington. She has a PhD in Comparative Literature in Comparative Literature from the University of Alberta, with a particular interest in comparative Canadian and Caribbean literatures, translation, and canon formation.

 
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Conjugation

BookThug


I am sitting outside at dawn on Otty Lake, where I live, in the woods. The light is coming over the trees, and each morning the poem is written as if right while it is being read.

A rough immediacy. Gap & Hum. Caesura. Syllables as musical notes.

The lyric weaving of honesty about the self—toward revelation & transformation.

My poetics has widened, here, to include more space, more primitive sounds and glyphs, less metaphor, less anecdote, more tangential conjugating…

My poetics, in its growing inclusiveness, is not sad but hopeful.

The term "conjugation" refers to more than the obvious grammatical movement of pronouns through time (I am / you are / they will be). For, in Biology, it also refers to the transfer of information between cells. And Conjugation—the new collection of poetry from Governor General’s Literary Award– and Trillium Book Award–winning poet Phil Hall—sees an open realm where individual letters inside a word are each rolling through their possibilities, from A to Z. Thereby, the language in this, Hall's eighteenth book of poetry, and the fourth to be published by BookThug, travels into and out of itself, as he says, "escaping my ego, while revealing, word by slightly different word, my deeper connections and disconnections to things—to what used to be called poetry's 'subjects.'"

Replete with images of the natural world and in some cases, the mechanisms that transform it–horses, leaping fish, trees, canals and locks—Hall has created in Conjugation at once a return to the nature/nurture elements that have wound their way through his earlier collections, but also a versed ode to the discouragement that many Canadians have felt about the progression of their country and government over the past number of years.

As much care was taken with the writing of this collection as the shaping of the poems themselves. Hall’s poems are shaped into a form of free-verse terza rima (2-line / 1-line alternating pattern), where spaces between phrases and words allow the syntax to be infused with floods of words from other angles. This results in a quilting or cross-hatching or braiding effect that ensures that readers will be captured in the flow of Conjugation's wordplay and the evolution that takes place through its pages.

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Praise for Conjugation:

"His gaze is not simply inward: these meditative poems take in the rural landscape of Eastern Ontario, the words of writers whose influence he honours and the nature of language itself. Like an auto mechanic working on an engine, Hall takes words and phrases apart, examines how they work, and tinkers." —Barb Carey, Toronto Star

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Phil Hall is a writer, editor, and teacher. His first book, Eighteen Poems, was published in 1973. Among his many published titles are: Old Enemy Juice (1988); The Unsaid (1992); Hearthedral-A Folk-Hermetic (1996); An Oak Hunch (2005); White Porcupine (BookThug, 2007); Killdeer (BookThug, 2011; winner of the 2011 Governor General’s Literary Award for Poetry, the 2012 Trillium Book Award, and shortlisted for the 2012 Griffin Poetry Prize); The Small Nouns Crying Faith (BookThug, 2013); Guthrie Clothing: The Poetry of Phil Hall, a Selected Collage (2015); and My Banjo and Tiny Drawings (2015). Hall has taught writing at York University, Ryerson University, Seneca College, George Brown College, and elsewhere, and has held the position of Poetry Editor for BookThug since 2013. Conjugation is his latest book. Phil lives with his wife near Perth, Ontario.

 
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Before and After Radical Prostate Surgery

Athabasca University Press


Before and After Radical Prostate Surgery is a research-based, comprehensive, and comprehensible resource on prostate surgery in Canada. Aimed at men with concerns about prostate surgery and their partners, this invaluable guide includes chapters on preparing for prostate surgery, the surgery itself, recovery in hospital and at home, a list of recommended resources, and special sections to record personal notes and important contact information.

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Virginia Vandall-Walker is an assistant professor in the Centre for Nursing and Health Studies, Athabasca University, and adjunct assistant professor in the Faculty of Nursing, University of Alberta. Her research interests include patient education about prostate surgery; family nursing in critical care; nursing support theory development; and end-of-life family caregiving.

 
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A More Perfect [

BookThug


Iconic political speeches are some of the best remembered and most repeated passages in contemporary English language. Especially in the United States of America, what child doesn’t know Abraham Lincoln's “Fourscore and seven years ago..." or Roosevelt's "The only thing we have to fear..."?

Taking as its source text Barack Obama's campaign speech from March 18, 2008, A More Perfect [ by Jimmy McInnes acts as a poetic translation of the rhetorical devices often used in political speeches. Like poetry, the campaign speech depends heavily upon the manipulation of language—the ways in which words are able to strategically twist intention and distract the eye. McInnes's poetry exposes the inner workings of the political speech, as a genre of text as premeditated as any work of poetry or fiction.

A More Perfect [ blends both political and formal linguistic concerns, garnering comparisons to Jena Osman's Corporate Relations and Alice Oswald's Memorial in their negotiation of source texts. Readers with an interest in language, linguistics, and rhetoric, and those with a particular interest in political themes and formal innovation, will relish this entertaining and culturally poignant read.

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Praise for A More Perfect [

Barack Obama’s eloquent and iconic 2008 speech on race, “A More Perfect Union,” is the master text underlying Jimmy McInnes’s ingenious poem. In the course of laying bare the devices of political rhetoric, McInnes presents an intricate lattice of tropes, formulas, gestures, and contexts. A More Perfect [ reads like a performance theory handbook, a poet’s theater script, and a grammar manual, all rolled into one concatenating barrel of tricks.Charles Berstein

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Jimmy McInnes was born and raised on Ontario's Bruce Peninsula. His first chapbook, Begin Speech With, was released by Ferno House in the fall of 2013. His poetry has appeared in various journals, including This Magazine, ditch, The Puritan, Descant, and the Capilano Review Web Folio. His work has been shortlisted for the Great Canadian Literary Hunt, and the Robert Kroetsch Award for Innovative Poetry. He lives in Toronto, where he completed his MFA in Creative Writing at the University of Guelph, and is currently employed as a political hack. A More Perfect [ is his first book-length work of poetry. Connect with McInnes on Facebook at https://www.facebook.com/jimmymcinnes or Twitter @JimmyMcInnes.

 
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La traduction en citations

Les Presses de l'Université d'Ottawa | Regards sur la traduction


Traduire, ce n’est pas écrire » / « Traduire n’est rien d’autre qu’écrire »

« On naît traducteur, on ne le devient pas » / « Le métier de traducteur, ça s’apprend »

Qu’en pensent Victor Hugo, Madame de Sévigné, Octavio Paz ou Umberto Eco? Et qu’en disent les théoriciens de la traductologie, comme Antony Pym ou Sherry Simon? Les idées s’entrechoquent allègrement dans ce florilège de citations : autant d’auteurs et de traducteurs, autant de partis pris sur l’acte de traduire.

La traduction en citations contient plus de 2700 aphorismes, définitions, éloges, épigrammes, jugements, témoignages ou traits d’esprit sur la traduction, les traducteurs et les interprètes. Ces citations ont été glanées chez plus de huit cent auteurs, de l’Antiquité à nos jours et sont classées sous une centaine de thèmes tels que Art ingrat, Belles infidèles, Éloge du traducteur, Humour, Limites de la traduction, Traduire au féminin ou Vieillissement des traductions.

Ce petit bijou, agréable à lire et à relire, est un incontournable sur la table de chevet de tout traducteur et de tout lecteur curieux. Sourires en coin garantis.

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Avec ce florilège on ne peut plus exhaustif, Jean Delisle nous fait découvrir des facettes inédites de la traduction, qu’il appelle le « huitième art ».

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Jean Delisle, diplômé de la Sorbonne Nouvelle et professeur émérite de l’Université d’Ottawa, est membre de la Société royale du Canada et de l’Association canadienne de traductologie. Il a signé ou dirigé une vingtaine d’ouvrages, dont « la bible » du traducteur, La traduction raisonnée. Ses livres ont été traduits dans une quinzaine de langues.

 
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Caribou Run

Goose Lane Editions


At one moment, a pure abstraction; at the next, an incontrovertible presence of hooves, antlers, and fur. The beating heart of this assured début by Richard Kelly Kemick is the Porcupine caribou herd of the western Arctic.

In Caribou Run, Richard Kelly Kemick orchestrates a suite of poems both encyclopedic and lyrical, in which the caribou is both metaphor and phenomenon; both text and exegesis. He explores what we share with this creature of blood and bone and what is hidden, alien, and ineffable.

Following the caribou through their annual cycle of migration, Kemick experiments with formal and thematic variations that run from lyric studies of the creature and its environment, to found poems that play with the peculiar poetry of scientific discourse. to highly personal poems that find resonance in the caribou as a metaphor and a guiding spirit. Running the gamut from long-lined free verse and ghazal form to tightly controlled tankas and interwoven rhyme schemes, Caribou Run serves notice that a formidable new talent has been let loose on the terrain of Canadian poetry.

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"You hear notes of McKay, Steffler, and Purdy's Baffin Island poems in this extraordinary first collection, which is marked throughout by a pulsing, joyful intelligence. Richard Kelly Kemick delivers us onto the great lone land with the precision and beauty of his lines. The book is breathtaking."

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"Caribou Run honours its title subject by its sheer depth of research and by its willingness to explore the relationship between man and nature from numerous angles. Wisecracking, earnest, and charmingly obsessive, Kemick introduces himself here as a poet who believes in something larger than his own self, and so is a poet to watch."

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Richard Kelly Kemick's poetry, prose, and criticism have been published in magazines and journals across Canada and the United States, including the Fiddlehead, the New Quarterly, and Tin House (Open Bar). He has won the poetry prizes of both Grain magazine and Echolocation. He lives in Calgary.

 
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