Parallel languages in the history of language ideology in Norway and the lesson for Nordic higher education

This chapter compares recent policy on the use of English and Norwegian in Higher Education with earlier policies on the relationship between the two standard varieties of Norwegian, and it charts how and why English became a policy issue in Norway. Based on the experience of over a century of language planning, a highly interventionist approach is today being avoided and language policies in the universities of Norway seek to nurture a situation where English and Norwegian may be used productively side-by-side. However, there remain serious practical challenges to be overcome. This paper also builds on a previous analysis (Linn 2010b) of the metalanguage of Nordic language policy and seeks to clarify the use of the term ‘parallelingualism’.

Conversions of Relief: on the perception of depth in drawings

Of the many ways in which depth can be intimated in drawings, perspective has undoubtedly been one of the most frequently examined. But there is also an equally rich history associated with other forms of pictorial representation. Alternatives to perspective became particularly significant in the early twentieth century as artists and architects, intent on throwing off the conventions of their predecessors, looked to new ways of depicting depth. In architecture, this tendency was exemplified by Modernism’s preference for parallel projection – most notably axonometric and oblique. The use of these techniques gave architects the opportunity to convey a new and uniquely modern form of spatial expression. At once shallow and yet expansive, a key feature of these drawings was their ability to support perceptual ambiguity. This paper will consider the philosophy and science of vision, out of which these preoccupations emerged. In this context, the nineteenth-century discovery of stereopsis and the invention of the stereoscope will be used to illustrate the way in which attempts to test the limits of spatial perception led to an opening up of visual experience; and provided a definition of visual experience that could encompass the representational ambiguities later exploited by the early twentieth-century avant-garde.