Portal de Revistas Científicas de la Universidad de Alcalá
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Family Language Policy Among Ukrainian Refugees in Zadar
Get PDFThis paper deals with family language policy among Ukrainian refugees in the Croatian town of Zadar. The data that were collected via interviews conducted in May and June 2023 indicate that there is a certain correlation between families’ language ideologies and war-induced circumstances. Moreover, the newly arrived Ukrainians retain the use of their mother tongue in the family domain, while their use of other languages primarily depends on the level of linguistic competence, attitudes about language as a symbol of national identity, but also attitudes towards foreign language learning. Ukrainian refugees seem to encounter some language barriers, but due to similarities among Slavic languages and their efforts to adjust to the new sociocultural context, they are largely successful in overcoming them. Since many Ukrainian children are introduced to the Croatian educational context after migration, besides their parents, the children also become influential agents in designing aspects of their family language policy.This paper deals with family language policy among Ukrainian refugees in the Croatian town of Zadar. The research largely rests onSpolsky’s (2004; 2009) tripartite theoretical model widely used to evaluate family language policies. The data that were collected viainterviews conducted in May and June 2023 indicate that there is a certain correlation between families’ language ideologies and warinduced circumstances. Moreover, the newly arrived Ukrainians retain the use of their mother tongue in the family domain, whiletheir use of other languages primarily depends on the level of linguistic competence, attitudes about language as a symbol of nationalidentity, but also attitudes towards foreign language learning. Ukrainian refugees seem to encounter some language barriers, butdue to similarities among Slavic languages and their efforts to adjust to the new sociocultural context, they are largely successful in overcoming them. Since many Ukrainian children are introduced to the Croatian educational context after migration, besides their parents, the children also become influential agents in designing aspects of their family language policy
LA CELEBRACIÓN DEL TALENTO JOVEN Y LA EXCELENCIA ACADÉMICA
No full textThe editorial team of Encuentro Journal is honored to include the paper, “Analysis of the Features of Turkish-Accented English and Its Comprehensibility”, authored by Ms. Vefa Türeli, as an invited contribution to the 2025 issue of the journal. This exceptional work was considered by the committee of LINELT 2024, held in Antalya (February 22–24, 2024), as the best presentation by the young researchers attending the conference. The paper, which underwent the traditional peer-review process for the conference was further evaluated by our editorial team but not by any external blind reviewers. We are proud to feature it as an invited paper in recognition of its scholarly promise and the author’s dedication to research.El equipo editorial de la revista Encuentro tiene el honor de incluir el trabajo “Análisis de las características del inglés con acento turco y de su comprensibilidad”, de Vefa Türeli, como contribución invitada al número de 2025 de la revista. Este excepcional trabajo fue elegido por el comité de LINELT 2024, celebrado en Antalya del 22 al 24 de febrero de 2024, como la mejor presentación de los jóvenes investigadores asistentes a la conferencia. El trabajo se sometió al proceso tradicional de revisión por pares para la conferencia y fue evaluado además por nuestro equipo editorial, pero no por ningún revisor ciego externo. Nos enorgullece presentarlo como artículo invitado, en reconocimiento a su prometedora carrera académica y a la dedicación del autor a la investigación
Interfaces de la lengua y otros sistemas
No full textEn los pasados 16 y 17 de abril de 2024 se celebraron las XII Jornadas de Lengua y Comunicación, en la Facultad de Filosofía y Letras de la Universidad de Alcalá (España). En esta ocasión, el tema elegido fueron las interfaces de la lengua y las de esta con otros sistemas. Una vez más, las Jornadas fueron un espacio de encuentro entre investigadores, profesores y estudiantes, y entre personas de dentro y de fuera de la Universidad de Alcalá́. Para que su contenido llegue a un público más amplio, Lingüística en la Red publica este nuevo monográfico anexo al número XXI, con artículos que cubren la materia tratada, escritos por grandes especialistas con objeto de ofrecer un panorama actual en la investigación y en la enseñanza
Directing a Play by Rudolfo Anaya: Un recuerdo y muchas memorias
No full textIn 1987 I had the honor of directing the world premiere of Rudolfo Anaya’s play, Who Killed Don José? for La Compañía de Teatro de Alburquerque. Much has been written about the import and impact of Anaya’s novels and other writings but very little has been published about his plays. In his “Comments from the playwright” preceding his collection titled Billy the Kid and other Plays, Anaya wrote, “I was a drop in the bucket of the Chicano Theater movement that came alive during the Chicano Movement of the 1960s and 70s.” (Anaya, Who Killed Don José x). He then reminds his readers that performances and rituals have been a part of the of the indigenous, Spanish and mestizo cultures of New Mexico for centuries. Indeed, Los Pastores is undoubtedly the play in which a fifth-grade Rudy Anaya played that shepherd, a play that was brought to the Américas by the Spanish colonizers. It was only natural that this man of many voices should turn his gaze to the stage as another platform on which to bring to life his fellow Nuevo Mexicanos, their history and cultures.En 1987 tuve el honor de dirigir el estreno mundial de la obra de Rudolfo Anaya Who Killed Don José? para La Compañía de Teatro de Alburquerque. Mucho se ha escrito sobre la importancia y el impacto de las novelas y otros escritos de Anaya, pero muy poco se ha publicado sobre sus obras de teatro. En sus "Comentarios del dramaturgo" que preceden a su colección titulada Billy the Kid and other Plays, Anaya escribió: "Yo fui una gota en el cubo del movimiento del Teatro Chicano que cobró vida durante el Movimiento Chicano de los años 60 y 70". (Anaya, Who Killed Don José? x). A continuación, recuerda a sus lectores que las representaciones y los rituales han formado parte de las culturas indígena, española y mestiza de Nuevo México durante siglos. De hecho, Los Pastores es sin duda la obra en la que un Rudy Anaya de quinto grado interpretó a ese pastor, obra que fue traída a las Américas por los colonizadores españoles. Era natural que este hombre de muchas voces dirigiera su mirada al escenario como otra plataforma en la que dar vida a sus compatriotas nuevo mexicanos, a su historia y a sus culturas
LA EVALUACIÓN EN AICLE: PERSPECTIVA DEL PROFESORADO
No full textOver the last two decades in Spain there have been many efforts aimed at implementing of bilingual education and training Primary Education teachers in the methodological approach known as CLIL (Content and Language Integrated Learning). However, assessing children’s progress in CLIL presents many difficulties, due to the varied contexts and also to the difficulty of finding assessment tools that measure both content and linguistic competence from a truly integrated perspective. Given the importance of this issue, this research addresses how the assessment process is carried out in the upper cycle of Primary Education in schools in the Community of Andalusia. It is a mixed method research (quantitate and qualitative) whose main objective is to analyze, through teachers’ opinions, aspects such as the training they have received, their competence in assessment practices and the difficulties they face. In order to collect data, a questionnaire was sent online to Primary schools. The analysis shows that the difficulties presented by teachers are many, but the growing interest in formative assessment in the educational field and specifically in CLIL approach is perceived as a central aspect to carry out an authentic integration of language and content and, through the assessment process, to contribute to the achievement of quality bilingual education.A lo largo las dos últimas décadas en España han sido muchos los esfuerzos dirigidos a la implementación de la enseñanza bilingüe y a la formación de los profesores que imparten su docencia en Educación Primaria con el enfoque metodológico AICLE (Aprendizaje Integrado de Contenidos y Lengua Extranjera). De entre los varios aspectos complejos que presenta la implantación de este enfoque, la evaluación se erige como uno de los más difíciles debido a los variados contextos en los que puede desenvolverse y, también, a la dificultad para encontrar instrumentos de evaluación que midan con eficacia los contenidos curriculares y la competencia lingüística desde una perspectiva realmente integradora. Dada la importancia de ese aspecto, esta investigación aborda cómo se lleva a cabo el proceso de la evaluación en el tercer ciclo de Educación Primaria en colegios de la Comunidad de Andalucía. La investigación se ha realizado con un método mixto (cuantitativa y cualitativa) cuyo objetivo principal ha sido analizar, a través de las respuestas del profesorado, aspectos tales como la formación recibida, su competencia a la hora de evaluar, así como las dificultades a las que se enfrentan en su práctica evaluativa. Para la recopilación de datos se realizó un cuestionario que fue enviado por vía online a colegios de Educación Primaria. El análisis de los resultados muestra que las dificultades presentadas por los profesores son muchas, pero el interés creciente por una evaluación formativa en el campo educativo y específicamente en el enfoque AICLE se percibe como un aspecto central para poder llevar a cabo una auténtica integración de la lengua y del contenido y para que el proceso de la evaluación contribuya a la consecución de una enseñanza bilingüe de calidad
La retórica en la configuración del discurso publicitario contemporáneo
No full textRhetoric, traditionally considered the art of the word aimed at persuading the audience, through the application of its resources and strategies, contributes effectively to the configuration of contemporary advertising discourse, one of whose fundamental features is its heterogeneity, which is manifested in the plurality of signs that usually consist of its structure (verbal, iconic and numerical) and, sporadically, in the incorporation of foreign voices (especially Anglicisms) and elements of different registers (according to the context, technical voices, colloquial and vulgar expressions or polite tone). Thus, we could say that in this type of discourse practically everything falls within the orbit of rhetoric. However, in this article we will focus on the three sectors in which the persuasive purpose of the advertiser, the weighting of the product, the appeal to the recipient and the ornament are most prominent.La retórica, considerada tradicionalmente el arte de la palabra destinado a persuadir al auditorio, mediante la aplicación de sus recursos y estrategias, contribuye eficazmente a la configuración del discurso publicitario contemporáneo, uno de cuyos rasgos fundamentales es su heterogeneidad, que se manifiesta en la pluralidad de signos de que suele constar su estructura (verbales, icónicos y numéricos) y, esporádicamente, en la incorporación de voces extranjeras (sobre todo anglicismos) y elementos de diferentes registros (de acuerdo con el contexto, voces técnicas, expresiones coloquiales y vulgares o tono cortés). Así pues, podríamos afirmar que en este tipo de discurso prácticamente todo entra dentro de la órbita de la retórica. No obstante, en este artículo nos centraremos en los tres sectores en los que más se acusa la finalidad persuasiva del publicista, la ponderación del producto, la apelación al destinatario y el ornatus
Racial Borders and Supernatural Fears in Little Marvin’s Them: The Scare (2024)
No full textThe second instalment of Little Marvin’s anthology series Them: The Scare (2024) takes us to 1992 Compton (California), a moment in history when simmering racial tensions in the US where about to reach a boiling point following the acquittal of four white police officers involved in Rodney King’s brutal assault. This new season follows two intertwined plotlines that will end up intersecting towards the end of the show: on the one hand, African American LAPD Detective Dawn Reeve is investigating a series of bizarre murders connected to a mysterious supernatural entity. On the other hand, hapless Edmund Gaines is a Black struggling actor trying to make it as a thespian while facing a profound sense of alienation and emotional adrift.
This paper understands Them: The Scare to be an exploration into the repercussions that racial boundaries erected in the United States around non-white people, particularly African Americans, inflict upon their minds and bodies. Through its portrayal of racial power’s inescapable fangs, the series conveys the suffocating confinement experienced by its lead characters as they navigate a lopsided system that hinges on the maintenance of white hegemonic dominance. The paper will draw on crucial aspects from the interdisciplinary academic field of Critical Race Theory; namely, on the notion of counter-storytelling, defined by Solórzano & Yosso, that privileges the lived experiences of those afflicted by racism, and also on the notion of racism being not aberrational, but ordinary, an endemic feature of American society, deeply rooted in its institutions and structures, as purported by Delgado & Stefanic. It will also be contended that Little Marvin’s Them: The Scare uses Black horror, a subgenre theorised in detail by author Robin R. Means Coleman, as a vehicle to challenge dominant cultural narratives that have traditionally relegated Black voices to the periphery, and also to juxtapose supernatural horror tropes with real-life terrors plaguing the lives of Black Americans
Blurring the Boundaries. Rethinking “Americanness” in Brit Bennett’s The Vanishing Half
No full textArguably, canonical representations of Americanness are built upon oppositions, which cannot but render anyone who does not fit the standard – white, male, heterosexual, and cis-gender – the “Other”. If it is inherently evident how the overlapping between these features and Americanness is not only simplistic and stereotypical, but incredibly problematic as well, this is emphasized even more by literary representations that challenge such association. In fact, these implode from within, as they are parodied, and dismantled. Hence, new paradigms for Americanness are created. Such boundaries between the “canonical” American and “the Other” are constantly blurred, shifted, caricatured and, finally, demolished in Brit Bennett’s The Vanishing Half. In the novel many of the characters are portrayed challenging these boundaries – especially, that of race, and of gender – through the performance of a fluid identity which allows them to abolish the barriers between different categories, and to emphasize how such boundaries are nothing but arbitrary constructions.
The aim of this paper, then, is to analyze how the characters who do not fit the traditional binary division between genders, and those who are able to shift between races - due to their physical appearance, and to their capability to introject and reproduce racial stereotypes – constantly blur canonical boundaries between the “stereotypical American” and “the Other”. Hence, these are parodied and dismantled, while new paradigms for Americanness – that allow the characters to transcend such boundaries – are created.
Moreover, the aim of this paper is to observe how the form of the novel mirrors the blurring, as various media – especially performative one, as photography, cinema, and theatre – intervene in the novel, hence signaling how the shift between boundaries is turned into a crucial thematic and formal element in The Vanishing Half.
As almost all of the characters are constantly seen performing – in performative acts, as theatrical performances, or in their daily lives – they incessantly shift their own identity, thus making it impossible for them to be enclosed in certain strict categories. And, in cases in which they seem to adhere to these categories, these are made implode from within. Thus, the construction of boundaries of the identity is made impossible, as the boundary between white and Black, heteronormative and non-heteronormative are constantly blurred. Finally, then, the aim of this paper is to observe how this blurring concurs to the deconstruction of the traditional binary us/Other, which lies at the foundation of the construction of “canonical” Americanness, and how this novel exemplifies that the construction a new, more functional Americanness is to be found in blurred boundaries, in fluid identities, and through performativity
Burning Down the House: The Shadow Feminism of Izzy Ortiz Ruebens
No full textIn this essay, I analyze two stories featuring the character Isabel Maria “Izzy” Ortiz Ruebens – “Flies on the Ceiling” (1989) and the serialized story “Maggie” (2001-2004) – through the lenses of shadow feminism, failure, queer autonomy, and other theories of the “antisocial”. I argue that Izzy’s reclusive, capricious, haunted, “witchy” behavior may not be simply tragic or antisocial as some critics have characterized it. Instead, her character trajectory and relationships with other characters illustrate opportunities for distinct modes of friendship and womanhood that may also be Liberatory in their radical resistance to intelligibility and efficiency.En este ensayo analizo dos historias donde aparece el personaje de Isabel Maria “Izzy” Ortiz Ruebens - “Flies on the Ceiling” (1989) y la historieta publicada por entregas “Maggie” (2001-2004) – a través de las teorías del “feminismo sombrío”, del fracaso, de la autonomía queer, y otras teorías de lo “antisocial”. Demuestro que el comportamiento solitario, caprichoso, turbado, y comportamiento “brujesco” de Izzy no es simplemente trágico o insociable como han argumentado otros críticos. Es más, la trayectoria de este personaje ofrece una oportunidad para crear maneras distintas de amistad y feminidad que pueden ser liberadoras en su resistencia radical contra lo comprensible y lo pragmático
Los arquetipos femeninos en "Lágrimas en la lluvia", de Rosa Montero: modalidades y funciones
No full textThis paper examines the female archetypes that in Lágrimas en la lluvia, a novel published by Rosa Montero in 2011, are drawn from both canonical literature and Western pop culture —from the femme fatale to the domestic angel, passing through Lara Croft or the prototypical chicklit protagonist— to adapt them to the molds of dystopian science fiction. After showing to what extent the construction of the protagonist of the story, Bruna Husky -in which most of these archetypes converge- is based on a certain generic syncretism (in the double sense, sexual and architextual), we will analyse the formal (narrative and hypertextual) and thematic (through topoï and stereotyping phenomena) devices for the construction of female archetypes that are organised around two functions traditionally associated with the representation of women in the Western imaginary: that of the active sensual subject and that of the passive object, focused from the sphere of the intimate, linked in turn to the concept of care. From there we will show how the articulation of these figures with a fairly traditional science-fiction encyclopaedia (populated by cyborgs, artificial planets, plasma weapons and aliens), as well as the hybridism between detective novel, romance novel and bildungsroman, participate in the paratopia (in Maingueneau's terms) of Bruna's character, while enabling an ambivalent poetics of stereotyping that appeals to the reader's expectations in a playful reading pact.En este trabajo se examinarán los arquetipos femeninos que, en Lágrimas en la lluvia, novela que Rosa Montero publicó en 2011, se extraen a la vez de la literatura canónica y de la cultura pop occidental —desde la femme fatale al ángel del hogar, pasando por Lara Croft o la protagonista prototípica de la chicklit— para adaptarlos a los moldes de la ciencia ficción distópica. Tras evidenciar en qué medida la construcción de la protagonista del relato, Bruna Husky —en la que convergen la mayoría de dichos arquetipos—, se basa en cierto sincretismo genérico (en el doble sentido, sexual y architextual), analizaremos los dispositivos formales (narrativos e hipertextuales) y temáticos (a través de tópicos y fenómenos de estereotipación) de construcción de arquetipos femeninos que se organizan alrededor de dos funciones tradicionalmente asociadas con la representación de la mujer en el imaginario occidental: la del sujeto sensual activo y la del objeto pasivo, enfocado desde la esfera de lo íntimo, vinculada a su vez con el concepto del care. A partir de allí mostraremos de qué manera la articulación de estas figuras con una enciclopedia de ciencia-ficción bastante tradicional (poblada por cíborgs, planetas artificiales, armas de plasma y alienígenas), así como el hibridismo entre novela policiaca, novela rosa y bildungsroman, participan de la paratopía (en términos de Maingueneau) del personaje de Bruna, a la vez que posibilitan una poética ambivalente de estereotipación que apela a las expectativas del lector, en un pacto de lectura lúdico