Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.03
B. Gray
In her recently published text Out of Time: The Pleasures and the Perils of Ageing (2013) Lynne Segal argues that, in relation to the ageing process “what essentially matters is neither the sociology nor the biology of ageing but the narrative of the self, the stories we tell ourselves” (Segal 2013, 9). Psychoanalyst Christopher Bollas, suggests that in order to achieve a functioning personal narrative, each individual requires a perspectival mapping of his/her “internal topography” as the past does not simply lie dormant awaiting some form of resurrection but holds the potential for creative collaboration. One recent text which specifically engages with the pivotal role that memory plays in the ageing process and whether it is possible to, as Bollas suggests, “make the past available for the self’s future” (Bollas 1993, 3) is Irma Kurtz’s travelogue/memoir entitled Then Again: travels in search of my younger self my Younger Self (2003). Born in New Jersey in 1935 to Eastern European immigrants, Irma Kurtz has written four autobiographical texts, several novels as well as a number of publications related to her long-standing role as ‘agony aunt’ for Cosmopolitan magazine. My reading of Kurtz’s Then Again will focus not only on Bollas’s perspective on what he terms the “psychic signifiers” that are implicitly linked to the creative use of memory and how this concept can be applied to Kurtz’s text but also suggests that Stephen Frosh’s view on the importance of the achievement of a personal narrative which creatively engages with what he terms the “hauntings” of the past is also relevant to the central thematic concern of Then Again. Kurtz’s emphasis upon the threads of continuity that enable us to both differentiate and recapitulate past experiences as we experience the crisis of old age, will be specifically linked to the belief expounded by both Frosh and Bollas that ageing represents a multiplicity of continuities over time and how a successful negotiation of the ageing process depends upon an ability to make use of the self as an object of memory that simultaneously is, and is not, equivalent to its present manifestation(s). This article attempts to depict the central roles that memory and narration must play if such possibilities are to be achieved.
{"title":"‘All ages and no age’: Memory, and Self-Narration in Irma Kurtz’s Then Again: Travels in Search of My Younger Self","authors":"B. Gray","doi":"10.14198/raei.2022.36.03","DOIUrl":"https://doi.org/10.14198/raei.2022.36.03","url":null,"abstract":"In her recently published text Out of Time: The Pleasures and the Perils of Ageing (2013) Lynne Segal argues that, in relation to the ageing process “what essentially matters is neither the sociology nor the biology of ageing but the narrative of the self, the stories we tell ourselves” (Segal 2013, 9). Psychoanalyst Christopher Bollas, suggests that in order to achieve a functioning personal narrative, each individual requires a perspectival mapping of his/her “internal topography” as the past does not simply lie dormant awaiting some form of resurrection but holds the potential for creative collaboration. One recent text which specifically engages with the pivotal role that memory plays in the ageing process and whether it is possible to, as Bollas suggests, “make the past available for the self’s future” (Bollas 1993, 3) is Irma Kurtz’s travelogue/memoir entitled Then Again: travels in search of my younger self my Younger Self (2003). Born in New Jersey in 1935 to Eastern European immigrants, Irma Kurtz has written four autobiographical texts, several novels as well as a number of publications related to her long-standing role as ‘agony aunt’ for Cosmopolitan magazine. My reading of Kurtz’s Then Again will focus not only on Bollas’s perspective on what he terms the “psychic signifiers” that are implicitly linked to the creative use of memory and how this concept can be applied to Kurtz’s text but also suggests that Stephen Frosh’s view on the importance of the achievement of a personal narrative which creatively engages with what he terms the “hauntings” of the past is also relevant to the central thematic concern of Then Again. Kurtz’s emphasis upon the threads of continuity that enable us to both differentiate and recapitulate past experiences as we experience the crisis of old age, will be specifically linked to the belief expounded by both Frosh and Bollas that ageing represents a multiplicity of continuities over time and how a successful negotiation of the ageing process depends upon an ability to make use of the self as an object of memory that simultaneously is, and is not, equivalent to its present manifestation(s). This article attempts to depict the central roles that memory and narration must play if such possibilities are to be achieved.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45272640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.01
Natalia Carbajosa Palmero
T. S. Eliot wrote The Family Reunion (1939) while he composed the Four Quartets, twelve years after his conversion to Anglo-Catholicism in 1927. The play erects a bridge between the author’s early stage productions (Sweeney Agonistes, The Rock and Murder in the Cathedral) and the later society plays (The Cocktail Party, The Confidential Clerk and The Elder Statesman). Moreover, in his 1951 essay “Poetry and Drama,” Eliot delves into the strengths and weaknesses of The Family Reunion and links this play with his own experiments with a “conversational line” which introduces popular theatrical conventions wrapped in the patterns of poetry that may appeal to theatre-goers. This paper deals with Eliot’s proposals for verse drama present in an incipient form in The Family Reunion, and explores the possible ways of translating these resources into Spanish. It focuses on Eliot’s own explanations in “Poetry and Drama” about the way in which to adapt blank verse to the stage. Furthermore, this essay explores metrical concepts such as stress and caesura and applies them to wider aspects concerning dramatic patterns and inner/outer voice in characters.
{"title":"The Family Reunion as a turning point in T. S. Eliot’s Verse Drama: Analysis and Suggestions for Translation","authors":"Natalia Carbajosa Palmero","doi":"10.14198/raei.2022.36.01","DOIUrl":"https://doi.org/10.14198/raei.2022.36.01","url":null,"abstract":"T. S. Eliot wrote The Family Reunion (1939) while he composed the Four Quartets, twelve years after his conversion to Anglo-Catholicism in 1927. The play erects a bridge between the author’s early stage productions (Sweeney Agonistes, The Rock and Murder in the Cathedral) and the later society plays (The Cocktail Party, The Confidential Clerk and The Elder Statesman). Moreover, in his 1951 essay “Poetry and Drama,” Eliot delves into the strengths and weaknesses of The Family Reunion and links this play with his own experiments with a “conversational line” which introduces popular theatrical conventions wrapped in the patterns of poetry that may appeal to theatre-goers. This paper deals with Eliot’s proposals for verse drama present in an incipient form in The Family Reunion, and explores the possible ways of translating these resources into Spanish. It focuses on Eliot’s own explanations in “Poetry and Drama” about the way in which to adapt blank verse to the stage. Furthermore, this essay explores metrical concepts such as stress and caesura and applies them to wider aspects concerning dramatic patterns and inner/outer voice in characters.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41799907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.06
José Ruiz Mas
From the late 1950s and throughout the 1960s, the impact of American twist and rock’n’roll and British beat music, the Eurovision Song Contest, the considerable growth of the national record industry, the number of radio stations and the (still timid) deployment of nationwide TV gave rise in Spain to the development of the ye-yé fashion amongst the young Spanish population. This was accompanied by the development of a mild feeling of rebellion and critical spirit against the traditional conservative/Catholic status quo and the conventional mores of the previous generation. Indeed, from 1964-65 onwards dozens of Beatle-like bands imitated the Beatles’ rhythms, language, image, poses, fashion and song lyrics. The two live performances of the Beatles in Madrid and Barcelona in 1965 disseminated their popularity even further in Franco’s Spain. English became the lingua franca of modernity, of international tourism and of the new musical genres. In this Anglophile context, Beatlemania was to exert a relatively gentle influence on the social and political Spanish scenario of the decade and contributed to preparing the path to the country’s democratization in the late 1970s.
{"title":"The Beatles in Spain: The Contribution of Beat Music and Ye-yés to the (Subtle) Musical, Cultural and Political Openness of General Franco’s Regime in the 1960s","authors":"José Ruiz Mas","doi":"10.14198/raei.2022.36.06","DOIUrl":"https://doi.org/10.14198/raei.2022.36.06","url":null,"abstract":"From the late 1950s and throughout the 1960s, the impact of American twist and rock’n’roll and British beat music, the Eurovision Song Contest, the considerable growth of the national record industry, the number of radio stations and the (still timid) deployment of nationwide TV gave rise in Spain to the development of the ye-yé fashion amongst the young Spanish population. This was accompanied by the development of a mild feeling of rebellion and critical spirit against the traditional conservative/Catholic status quo and the conventional mores of the previous generation. Indeed, from 1964-65 onwards dozens of Beatle-like bands imitated the Beatles’ rhythms, language, image, poses, fashion and song lyrics. The two live performances of the Beatles in Madrid and Barcelona in 1965 disseminated their popularity even further in Franco’s Spain. English became the lingua franca of modernity, of international tourism and of the new musical genres. In this Anglophile context, Beatlemania was to exert a relatively gentle influence on the social and political Spanish scenario of the decade and contributed to preparing the path to the country’s democratization in the late 1970s.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42174283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-28DOI: 10.14198/raei.2021.35.01
Victoria Puchal Terol
During the nineteenth century, theatregoing became the favoured entertainment of both the lower and upper classes in London. As Davis (1994, 307) suggests, the plays were a “mirrored reflection” of society, and they had the ability to reflect important socio-political issues on stage, while also influencing people’s opinion about them. Thus, by turning to the popular stage of the mid-century we can better understand social issues like the Woman Question, or the tensions around imperial policies, among others. As such, this article scrutinises the ways in which Victorian popular drama influenced the period’s ideal of femininity by using stock characters inspired by real women’s movements. Two such cases are the “Girl of the Period” and the “Fast Girl”, protofeminists that would go on to influence the New Woman of the fin-de-siècle. We analyse two plays from the mid-century: the Adelphi’s Our Female American Cousin (1860), by Charles Gayler, and the Strand’s My New Place (1863), by Arthur Wood. As this article attests, popular plays like these would inadvertently bring into the mainstream the ongoing political fight for female rights through their use of transgressive female characters and promotion of scenarios where alternative feminine identities could be performed and imagined.
{"title":"Performing the Female Alternative in Victorian Popular Drama: The “Girl of the Period” and the “Fast Girl”","authors":"Victoria Puchal Terol","doi":"10.14198/raei.2021.35.01","DOIUrl":"https://doi.org/10.14198/raei.2021.35.01","url":null,"abstract":"During the nineteenth century, theatregoing became the favoured entertainment of both the lower and upper classes in London. As Davis (1994, 307) suggests, the plays were a “mirrored reflection” of society, and they had the ability to reflect important socio-political issues on stage, while also influencing people’s opinion about them. Thus, by turning to the popular stage of the mid-century we can better understand social issues like the Woman Question, or the tensions around imperial policies, among others. As such, this article scrutinises the ways in which Victorian popular drama influenced the period’s ideal of femininity by using stock characters inspired by real women’s movements. Two such cases are the “Girl of the Period” and the “Fast Girl”, protofeminists that would go on to influence the New Woman of the fin-de-siècle. We analyse two plays from the mid-century: the Adelphi’s Our Female American Cousin (1860), by Charles Gayler, and the Strand’s My New Place (1863), by Arthur Wood. As this article attests, popular plays like these would inadvertently bring into the mainstream the ongoing political fight for female rights through their use of transgressive female characters and promotion of scenarios where alternative feminine identities could be performed and imagined.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42782651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-28DOI: 10.14198/raei.2021.35.09
Isabel Guerrero Llorente, V. Rodríguez
Theatre and Performance Studies in English: An Introduction.
英语戏剧与表演研究：导论。
{"title":"Theatre and Performance Studies in English: An Introduction","authors":"Isabel Guerrero Llorente, V. Rodríguez","doi":"10.14198/raei.2021.35.09","DOIUrl":"https://doi.org/10.14198/raei.2021.35.09","url":null,"abstract":"Theatre and Performance Studies in English: An Introduction.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45714735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-28DOI: 10.14198/raei.2021.35.03
Tomáš Kačer
Theater productions were born out of a paradox in the United States of the Revolutionary War and shortly afterwards. While the nation’s dominant ideology was anti-theatrical, theater often served a nationalist agenda, co-defining the new American nation and its nascent identities – such were, for example, productions of Joseph Addison’s Cato at Valley Forge in 1778 and William Dunlap’s André at the New Park in New York in 1798. These theater events empowered the audience to publicly perform their national identity as Americans and exercise their republican fervor. Similarly, a production of Bunker-Hill by J. D. Burk at the Haymarket in Boston in 1797 was crucial in helping define the social and political identities of its audiences, who were motivated to attend the performances as an expression of their partisan preferences. This article shows that literary, theatrical and social practices served to constitute performatively the early American national identity.
{"title":"Performing Political Persuasion in the United States in the Early Years of the Republic","authors":"Tomáš Kačer","doi":"10.14198/raei.2021.35.03","DOIUrl":"https://doi.org/10.14198/raei.2021.35.03","url":null,"abstract":"Theater productions were born out of a paradox in the United States of the Revolutionary War and shortly afterwards. While the nation’s dominant ideology was anti-theatrical, theater often served a nationalist agenda, co-defining the new American nation and its nascent identities – such were, for example, productions of Joseph Addison’s Cato at Valley Forge in 1778 and William Dunlap’s André at the New Park in New York in 1798. These theater events empowered the audience to publicly perform their national identity as Americans and exercise their republican fervor. Similarly, a production of Bunker-Hill by J. D. Burk at the Haymarket in Boston in 1797 was crucial in helping define the social and political identities of its audiences, who were motivated to attend the performances as an expression of their partisan preferences. This article shows that literary, theatrical and social practices served to constitute performatively the early American national identity.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45963407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-28DOI: 10.14198/raei.2021.35.06
Rebeca Gualberto
This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.
{"title":"Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity","authors":"Rebeca Gualberto","doi":"10.14198/raei.2021.35.06","DOIUrl":"https://doi.org/10.14198/raei.2021.35.06","url":null,"abstract":"This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48067463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-28DOI: 10.14198/raei.2021.35.08
Kerrie Reading
The cultural revolution of 1968 paved the way for many artists to reconsider how and where theatre was made. Community theatre gained currency and one company who became prominent during this cultural shift was Welfare State, later Welfare State International. They were one of the theatre companies who focused not only on a community theatre aesthetic but a grassroot one. I examine the radicality of community theatre and consider the efficacy of the historical approaches to engaging with communities in a (Post-)Covid world. I acknowledge and explore the shifting understanding of communities and assert that a deeper engagement is needed to foster collectivity (Tannahill 2016; Fişek 2019; Weston 2020; Bartley 2021). To reconsider the role that theatre may play in the future, I focus on a grassroot approach to community-led work and posit that location will be a key component to how theatre is made as we emerge from a pandemic.
1968年的文化大革命为许多艺术家重新思考戏剧的制作方式和地点铺平了道路。社区剧院开始流行起来，在这种文化转变中，福利国家(Welfare State)，后来的福利国家国际(Welfare State International)成为一家声名显赫的公司。他们是剧团之一，他们不仅关注社区戏剧美学，而且关注基层戏剧美学。我研究了社区剧院的激进性，并考虑了在(后)Covid世界中与社区接触的历史方法的有效性。我承认并探讨了对社区理解的转变，并断言需要更深入的参与来促进集体(Tannahill 2016;Fişek 2019;韦斯顿2020;Bartley 2021)。为了重新考虑戏剧在未来可能发挥的作用，我将重点放在以社区为主导的工作的基层方法上，并认为地点将是在我们摆脱大流行之际如何制作戏剧的关键组成部分。
{"title":"Navigating New Approaches for Grassroot Community Theatre in a (Post-)Covid World","authors":"Kerrie Reading","doi":"10.14198/raei.2021.35.08","DOIUrl":"https://doi.org/10.14198/raei.2021.35.08","url":null,"abstract":"The cultural revolution of 1968 paved the way for many artists to reconsider how and where theatre was made. Community theatre gained currency and one company who became prominent during this cultural shift was Welfare State, later Welfare State International. They were one of the theatre companies who focused not only on a community theatre aesthetic but a grassroot one. I examine the radicality of community theatre and consider the efficacy of the historical approaches to engaging with communities in a (Post-)Covid world. I acknowledge and explore the shifting understanding of communities and assert that a deeper engagement is needed to foster collectivity (Tannahill 2016; Fişek 2019; Weston 2020; Bartley 2021). To reconsider the role that theatre may play in the future, I focus on a grassroot approach to community-led work and posit that location will be a key component to how theatre is made as we emerge from a pandemic.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42067512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-29DOI: 10.14198/raei.2021.34.09
Teresa Morell, Volchenkova Ksenia Nickolaevna
Introduction. Special Issue: English Medium Instruction (EMI) Teacher Training in Higher Education. Revista Alicantina de Estudios Ingleses, no. 34, 2021.
介绍特刊：高等教育中的英语教学（EMI）教师培训。《英格尔斯研究评论》，2021年第34期。
{"title":"Introduction","authors":"Teresa Morell, Volchenkova Ksenia Nickolaevna","doi":"10.14198/raei.2021.34.09","DOIUrl":"https://doi.org/10.14198/raei.2021.34.09","url":null,"abstract":"Introduction. Special Issue: English Medium Instruction (EMI) Teacher Training in Higher Education. Revista Alicantina de Estudios Ingleses, no. 34, 2021.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41839913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-29DOI: 10.14198/RAEI.2021.34.03
Elena Borsetto, Ada Bier
The internationalisation of Higher Education Institutions is a process conceived of not as an end in itself but as a means to improve the quality of education, research and services (De Wit and Leask 2015). However, one of the consequences of this phenomenon is that lecturers are often called on to embrace the challenge of teaching their subject through a foreign language without receiving formal training in this, especially in countries where English-taught programs are still in their infancy, such as Italy. With the aim of supporting academic staff in this transition, the Academic Lecturing programme has been set up in a medium-sized public university in the north-east of Italy: it is specifically designed for lecturers who teach their subject through English and aims to raise their awareness of the impact of the internationalisation process on teaching, the more extensive set of skills needed for teaching and learning in English, and the increased heterogeneity of the student population. The purpose of the programme is also to help participants try their hand at new teaching methods and new technologies as a means of making lessons more interactive, thus increasing their accessibility and making them more effective, and to help participants to improve their strategic use of English within their disciplinary field. The professional development programme will be reported in the light of both a brief description of the programme format—a course and a one-to-one support service—and the feedback received from participants in the various editions so far. This feedback will be used to inform the future development of the programme, with a view to encouraging increased collaboration between language specialists and content specialists (Lyster 2017, Wingate 2018), thus further addressing the need for a more integrated use of language and content in university lectures.
高等教育机构的国际化是一个过程，它本身不是目的，而是提高教育、研究和服务质量的一种手段(De Wit and Leask 2015)。然而，这种现象的后果之一是，讲师经常被要求接受挑战，在没有接受过正式培训的情况下，通过外语教授他们的学科，特别是在英语教学项目仍处于起步阶段的国家，如意大利。为了在这种转变中支持学术人员，在意大利东北部的一所中型公立大学设立了学术讲座计划:它是专门为通过英语教授其学科的讲师设计的，旨在提高他们对国际化进程对教学的影响的认识，更广泛的英语教学和学习所需的技能，以及学生群体日益增加的异质性。该计划的目的还在于帮助参与者尝试新的教学方法和新技术，使课程更具互动性，从而增加课程的可访问性，提高课程的有效性，并帮助参与者在其学科领域内提高英语的策略性使用。有关专业发展计划的报告，将根据计划形式的简要说明(课程和一对一支援服务)，以及迄今为止从不同版本的参加者所收到的反馈。这些反馈将用于该计划的未来发展，以鼓励语言专家和内容专家之间加强合作(Lyster 2017, Wingate 2018)，从而进一步解决在大学讲座中更综合地使用语言和内容的需求。
{"title":"Building on International Good Practices and Experimenting with Different Teaching Methods to Address Local Training Needs: The Academic Lecturing Experience","authors":"Elena Borsetto, Ada Bier","doi":"10.14198/RAEI.2021.34.03","DOIUrl":"https://doi.org/10.14198/RAEI.2021.34.03","url":null,"abstract":"The internationalisation of Higher Education Institutions is a process conceived of not as an end in itself but as a means to improve the quality of education, research and services (De Wit and Leask 2015). However, one of the consequences of this phenomenon is that lecturers are often called on to embrace the challenge of teaching their subject through a foreign language without receiving formal training in this, especially in countries where English-taught programs are still in their infancy, such as Italy. With the aim of supporting academic staff in this transition, the Academic Lecturing programme has been set up in a medium-sized public university in the north-east of Italy: it is specifically designed for lecturers who teach their subject through English and aims to raise their awareness of the impact of the internationalisation process on teaching, the more extensive set of skills needed for teaching and learning in English, and the increased heterogeneity of the student population. The purpose of the programme is also to help participants try their hand at new teaching methods and new technologies as a means of making lessons more interactive, thus increasing their accessibility and making them more effective, and to help participants to improve their strategic use of English within their disciplinary field. The professional development programme will be reported in the light of both a brief description of the programme format—a course and a one-to-one support service—and the feedback received from participants in the various editions so far. This feedback will be used to inform the future development of the programme, with a view to encouraging increased collaboration between language specialists and content specialists (Lyster 2017, Wingate 2018), thus further addressing the need for a more integrated use of language and content in university lectures.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48885624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：