Family language policy in the Chinese community in Singapore: a question of balance?

This paper focuses on the language shift phenomenon in Singapore as a consequence of the top-town policies. By looking at bilingual family language policies it examines the characteristics of Singapore’s multilingual nature and cultural diversity. Specifically, it looks at what languages are practiced and how family language policies are enacted in Singaporean English-Chinese bilingual families, and to what extend macro language policies – i.e. national and educational language policies influence and interact with family language policies. Involving 545 families and including parents and grandparents as participants, the study traces the trajectory of the policy history. Data sources include 2 parts: 1) a prescribed linguistic practices survey; and 2) participant observation of actual negotiation of FLP in face-to-face social interaction in bilingual English-Chinese families. The data provides valuable information on how family language policy is enacted and language practices are negotiated, and what linguistic practices have been changed and abandoned against the background of the Speaking Mandarin Campaign and the current bilingual policy implemented in the 1970s. Importantly, the detailed face-to-face interactions and linguistics practices are able to enhance our understanding of the subtleties and processes of language (dis)continuity in relation to policy interventions. The study also discusses the reality of language management measures in contrast to the government’s ‘separate bilingualism’ (Creese & Blackledge, 2011) expectations with regard to ‘striking a balance’ between Asian and Western culture (Curdt-Christiansen & Silver 2013; Shepherd, 2005) and between English and mother tongue languages (Curdt-Christiansen, 2014). Demonstrating how parents and children negotiate their family language policy through translanguaging or heteroglossia practices (Canagarajah, 2013; Garcia & Li Wei, 2014), this paper argues that ‘striking a balance’ as a political ideology places emphasis on discrete and separate notions of cultural and linguistic categorization and thus downplays the significant influences from historical, political and sociolinguistic contexts in which people find themselves. This simplistic view of culture and linguistic code will inevitably constrain individuals’ language expression as it regards code switching and translanguaging as delimited and incompetent language behaviour.

A reappraisal of Baskerville's Greek types

Ιn the eighteenth century the printing of Greek texts continued to be central to scholarship and discourse. The typography of Greek texts could be characterised as a continuation of French models from the sixteenth century, with a gradual dilution of the complexity of ligatures and abbreviations, mostly through printers in the Low Countries. In Britain, Greek printing was dominated by the university presses, which reproduced conservatively the continental models – exemplified by Oxford's Fell types, which were Dutch adaptations of earlier French models. Hindsight allows us to identify a meaningful development in the Greek types cut by Alexander Wilson for the Foulis Press in Glasgow, but we can argue that in the middle of the eighteenth century Baskerville was considering Greek printing the typographic environment was ripe for a new style of Greek types. The opportunity to cut the types for a New Testament (in an twin edition that included a generous octavo and a large quarto version) would seem perfect for showcasing Baskerville's capacity for innovation. His Greek type maintained the cursive ductus of earlier models, but abandoned complex ligatures and any hint of scribal flourish. He homogenised the modulation of the letter strokes and the treatment of terminals, and normalised the horizontal alignments of all letters. Although the strokes are in some letters too delicate, the narrow set of the style composes a consistent, uniform texture that is a clean break from contemporaneous models. The argument is made that this is the first Greek typeface that can be described as fully typographic in the context of the technology of the time. It sets a pattern that was to be followed, without acknowledgement, by Richard Porson nearly a century and a half later. The typeface received little praise by typographic historians, and was condemned by Victor Scholderer in his retrospective of Greek typography. A survey of typeface reviews in the surrounding decades establishes that the commentators were mostly reproducing the views of an arbitrary typographic orthodoxy, for which only types with direct references to Renaissance models were acceptable. In these comments we detect a bias against someone considered an arriviste in the scholarly printing establishment, as well as a conservative attitude to typographic innovation.

Collabowrighting the hyper(play)text: a postdramatic digital poetics

The aim of this research is to exhibit how literary playtexts can evoke multisensory trends prevalent in 21st century theatre. In order to do so, it explores a range of practical forms and theoretical contexts for creating participatory, site-specific and immersive theatre. With reference to literary theory, specifically to semiotics, reader-response theory, postmodernism and deconstruction, it attempts to revise dramatic theory established by Aristotle’s Poetics. Considering Gertrude Stein’s essay, Plays (1935), and relevant trends in theatre and performance, shaped by space, technology and the everchanging role of the audience member, a postdramatic poetics emerges from which to analyze the plays of Mac Wellman and Suzan-Lori Parks. Distinguishing the two textual lives of a play as the performance playtext and the literary playtext, it examines the conventions of the printed literary playtext, with reference to models of practice that radicalize the play form, including works by Mabou Mines, The Living Theatre and Fiona Templeton. The arguments of this practice-led Ph.D. developed out of direct engagement with the practice project, which explores the multisensory potential of written language when combined with hypermedia. The written thesis traces the development process of a new play, Rumi High, which is presented digitally as a ‘hyper(play)text,’ accessible through the Internet at www.RumiHigh.org. Here, ‘playwrighting’ practice is expanded spatially, collaboratively and textually. Plays are built, designed and crafted with many layers of meaning that explore both linguistic and graphic modes of poetic expression. The hyper(play)text of Rumi High establishes playwrighting practice as curatorial, where performance and literary playtexts are in a reciprocal relationship. This thesis argues that digital writing and reading spaces enable new approaches to expressing the many languages of performance, while expanding the collaborative network that produces the work. It questions how participatory forms of immersive and site-specific theatre can be presented as interactive literary playtexts, which enable the reader to have a multisensory experience. Through a reflection on process and an evaluation of the practice project, this thesis problematizes notions of authorship and text.

Josephine: desire, ambition, Napoleon

Biography of Josephine Bonaparte. The incredible rise and unbelievable fall of Josephine, a mistress, courtesan and Revolutionary heroine whose energy and ambition has often been overshadowed by Napoleon’s military might. Historian Kate Williams, author of Becoming Queen, tells Josephine’s searing story of sexual obsession, politics and surviving as a woman in a man’s world. Abandoned in Paris by her aristocratic husband, Josephine's future did not look promising. But while her friends and contemporaries were sent to the guillotine during the Terror that followed the Revolution, she survived prison and emerged as the doyenne of a wildly debauched party scene, surprising everybody when she encouraged the advances of a short, marginalised Corsican soldier, six years her junior. Josephine, the fabulous hostess and skilled diplomat, was the perfect consort to the ambitious but obnoxious Napoleon. With her by his side, he became the greatest man in Europe, the Supreme Emperor; and she amassed a jewellery box with more diamonds than Marie Antoinette’s. But as his fame grew, Napoleon became increasingly obsessed with his need for an heir and irritated with Josephine’s extravagant spending. The woman who had enchanted France became desperate and jealous. Until, a divorcee aged forty-seven, she was forced to watch from the sidelines as Napoleon and his young bride produced a child.