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Article: Translanguaging and Visuality: Translingual Practices in Literary Art

TitleTranslanguaging and Visuality: Translingual Practices in Literary Art
Authors
Issue Date2015
PublisherDe Gruyter Mouton. The Journal's web site is located at http://www.degruyter.com/view/j/alr?rskey=Qlzv3A&result=20&q=
Citation
Applied Linguistics Review, 2015, v. 6 n. 4, p. 441-465 How to Cite?
AbstractTranslanguaging is a resource for linguistic creativity in communication and for critical engagement with one’s sociolinguistic or sociocultural reality. This article examines how translanguaging operates in two visual art installations by the contemporary Chinese artist Xu Bing. Square Word Calligraphy takes a visual turn on translanguaging by inventing a hybrid calligraphy that incorporates English words into the orthographic frame of Chinese. By physically tracing the alphabet through the character, viewers gain an embodied translingual experience, which encompasses an intercultural imaginary negotiating and transcending the English-Chinese divide. By contrast, Post Testament demonstrates an intralingual mode of translanguaging, whereby a biblical text is inflected with heterogeneous registers and rendered ineffectual as coherent discourse. Here the encounter and intertwining of text registers create a transformative space replete with ambiguity and mayhem. In these radical works of language art, translanguaging delineates borders while simultaneously interrogating them, creating liminal zones and articulating a politics of (mis)recognition, (un)readability, and (in)communicability.
Persistent Identifierhttp://hdl.handle.net/10722/220658
ISSN

 

DC FieldValueLanguage
dc.contributor.authorLee, TK-
dc.date.accessioned2015-10-16T06:48:42Z-
dc.date.available2015-10-16T06:48:42Z-
dc.date.issued2015-
dc.identifier.citationApplied Linguistics Review, 2015, v. 6 n. 4, p. 441-465-
dc.identifier.issn1868-6303-
dc.identifier.urihttp://hdl.handle.net/10722/220658-
dc.description.abstractTranslanguaging is a resource for linguistic creativity in communication and for critical engagement with one’s sociolinguistic or sociocultural reality. This article examines how translanguaging operates in two visual art installations by the contemporary Chinese artist Xu Bing. Square Word Calligraphy takes a visual turn on translanguaging by inventing a hybrid calligraphy that incorporates English words into the orthographic frame of Chinese. By physically tracing the alphabet through the character, viewers gain an embodied translingual experience, which encompasses an intercultural imaginary negotiating and transcending the English-Chinese divide. By contrast, Post Testament demonstrates an intralingual mode of translanguaging, whereby a biblical text is inflected with heterogeneous registers and rendered ineffectual as coherent discourse. Here the encounter and intertwining of text registers create a transformative space replete with ambiguity and mayhem. In these radical works of language art, translanguaging delineates borders while simultaneously interrogating them, creating liminal zones and articulating a politics of (mis)recognition, (un)readability, and (in)communicability.-
dc.languageeng-
dc.publisherDe Gruyter Mouton. The Journal's web site is located at http://www.degruyter.com/view/j/alr?rskey=Qlzv3A&result=20&q=-
dc.relation.ispartofApplied Linguistics Review-
dc.rightsThe final publication is available at www.degruyter.com-
dc.rightsCreative Commons: Attribution 3.0 Hong Kong License-
dc.titleTranslanguaging and Visuality: Translingual Practices in Literary Art-
dc.typeArticle-
dc.identifier.emailLee, TK: leetk@hku.hk-
dc.identifier.authorityLee, TK=rp01612-
dc.description.naturepublished_or_final_version-
dc.identifier.doi10.1515/applirev-2015-0022-
dc.identifier.hkuros256112-
dc.identifier.volume6-
dc.identifier.issue4-
dc.identifier.spage441-
dc.identifier.epage465-
dc.publisher.placeGermany-

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