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(1998)Journal ArticleTraditionally, the LOTE teacher is positioned as the learners' language model. Ingram argues that since the L2 is both the target and the medium of instruction 'the teacher is often the principal (if not sole) model of the language for the student'. This implies that the language of instruction should define the particular teaching method. In practice, however, the teacher speaks and writes model dialogues or more precisely model texts that act as the major source of L2 input, especially in the initial stages of learning the language. Model dialogues are those 'simulated conversation dialogues found at the beginning of textbook language lessons' presented to learners at any time during a class. These models appear not only in textbooks, but also on cassette tapes, in computer 'interactive' multimedia software packages, on photocopied worksheets, the blackboard, and from teachers' mouths. Erickson describes model dialogues as 'stilted' and sometimes 'stereotypical'. The purpose of this paper is to examine the relationships between model dialogues, teachers, learners, and other stake holders by investigating what aspects of social reality model dialogues attempt to characterise; why model dialogues are used extensively as motifs representing actuality, motifs which learners (and teachers) are expected to memorise and use in the future; and whether it would be possible to teach and learn Japanese without using model dialogues.
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(2004)Journal ArticleThis article discusses how Sarah Lamond, a Japanese language teacher in Sydney, Australia has juggled three of her identities: second language (L2) learner, L2 user, and L2 teacher. Data come from four interviews used to create an edited life history. These data are used to draw attention to the relationship between L2 learner and language user. The concept of “identity slippage” is briefly discussed and is introduced as a way of explaining this relationship. Although these three identities are foregrounded, it was found that Sarah's other identities of wife and mother also played a significant part in her becoming a Japanese language learner. Furthermore, Sarah's story also raises the native versus nonnative language teacher issue and in turn explores notions of authentic and impostor.
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(2003)Journal ArticleThis paper addresses the questions of how and what kinds of multiple self-presentations may inhabit the same narrative space. I draw on two types of data, both of which highlight changes that have occurred to individuals who have learned another language. By foregrounding the topical life histories of two Anglo-Celt Australians who have learned Japanese as an additional language after the age of 11 years, it was possible to investigate: (i) the extent to which multiple self-presentations are 'scaffolded' by the ability to make meaning in Japanese as an additional language; and (ii) the process of 'identity slippage' as part of the social semiotic construction of a bilingual self. In this paper, I challenge how 'Asian', and more specifically, 'Japanese' identities have been traditionally described.
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(2000)Journal Article
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(2001)Journal ArticleThis paper addresses two issues within a general theory of cross-cultural adaptation. The first concerns the extent to which cross-cultural adaptation is activated by the ability to make meaning in Japanese as a foreign language. The second investigates the phenomenon of 'identity slippage'. Six life histories taken from informants who had learned Japanese after the age of 11 years have been used as narratives to provide qualitative date to shed light on issues concerning additional language development, and especially some of the consequences of learning Japanese on each informant's sense of self. It was found that making and interpreting meaning with a different set of appropriated linguistic, non-verbal and pivotal information plays a major role in cross-cultural adaptation. It was also discovered that 'identity slippage' is a multilayered phenomenon which relies, in part, on the ability to make meaning in a location and with an audience. Those who can and do identity slip challenge the notions of native and non-native.
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(2007)Journal ArticleThis brief article explains the non-hierarchical listing of all 'Troubles' deaths in the inclusive Irish Linen Memorial (renamed The Linen Memorial in 2007) - killings for which various persons/groups on either side of the political divide, as well as the security forces, were responsible. The artwork-memorial can be read as an anti-monument. The Linen Memorial (hereafter LM) acts as a 'modest witness' in reordering relationships and engaging a parity of esteem between Nationalist/Republican ('Catholic') and Loyalist/Unionist ('Protestant') communities during the post-1998 period when Northern Ireland is emerging from conflict. The use of the linen handkerchief as symbolic for heartfelt grief was what inspired me to use it, as a building block, to create a non-traditional and mobile memorial to those killed in the sectarian violence, commonly called The Troubles, in Northern Ireland.
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(2009)Journal ArticleHow we perceive and contemplate the land affects how we treat the land, and ultimately how we live within it. Thus, is it possible for the artist to change how we perceive the environment to the extent that people change the way they respond and inhabit it? Encounters with venerated and Sacred Trees on field trips to India lead me to consider that respect for the environment is strengthened by the symbolic nature of images. Beyond the economic or conservationist perspective, there is an aesthetic rationale for preserving trees in India, where the tree is perceived aesthetically in its natural environment as an object adorned, and subsequently adored. The historic and contemporary practice of venerating the tree through decoration has, over time, effected cultural change in India. The tree is perceived differently, it is seen as a form that houses the sacred, and thus is protected. Louise Fowler-Smith is a Senior Lecturer and Director of the Imaging the Land International Research Institute (ILIRI) at the College of Fine Arts, University of NSW in Sydney, Australia. ILIRI aims to promote new ways of perceiving the land in the 21st century, while opening a dialogue across a wide spectrum of contemporary approaches to imaging the land, from indigenous and non-indigenous, local and international perspectives. ILIRI has established a residential Art Centre at the UNSW Fowlers Gap Research station north of Broken Hill. As a member of RESARTIS, (the international association of Artists’ Residencies), ILIRI attracts national and international artists to reside and work at this unique centre on the edge of the Australian Desert.
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(2008)Journal ArticleP.T. Anderson's latest film, There Will Be Blood, represents both a culmination and a crisis within his career-long investigation of the limits of paternity and the solace of surrogacy. By pressing that ongoing antagonism to a kind of absurd extreme in Daniel Day Lewis' performance, this paper argues that Anderson undoes it and leaves his future possible direction unclear. Further, by battening on the corpus of Upton Sinclair's 1926 novel, Anderson introduces a political unconscious that his rigorous reduction to a family drama cannot fully contain or defuse.
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(2008)Journal ArticleIn Voice, Image, Television: Beckett’s Divided Screens Julian Murphet makes the case for a ‘modernist moment’ in 70s television culture, arguing for Samuel Beckett as its great (if somewhat surprising) exemplar. Murphet suggests that the persistence of black and white televisions in British and American living rooms in the 1960s and 1970s at the same time as colour television’s rise to dominance, maps on to a more generally accepted pattern for the relationship between modernism and postmodernism. Through a close of analysis of Beckett’s works for television, Murphet reveals that such pieces as Eh Joe illustrate a televisual modernism that has mostly gone unrecorded by critics. More specifically, in terms of the writer’s creative practice, Murphet examines how through his work for television Beckett methodically investigates the possibilities and limitations of the medium, and in doing so unclogs aesthetic blockages that had beset his own work.
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(2007)Journal ArticleIt is documented that imprisonment rates of women have been increasing rapidly, both worldwide and in Australia, over the past decade. Discrimination against women may help to account for their increased numbers in the criminal justice system, but is also a concern in its own right. Looking at the context of New South Wales, we explore how women are subject to direct and indirect discrimination based on sex, race and disability in the police, court and prison systems. Changes in legislation and practices within the system over the past two decades have impacted negatively upon particular groups of people, especially upon poor and racialised women and women with mental or cognitive health concerns. Further to this, practices such as strip searching have a pernicious effect on women in custody. These developments, along with other practices imposed upon women in the criminal justice system, are argued to constitute systemic discrimination.