The Routledge handbook of vocabulary studies
The Routledge Handbook of Vocabulary Studies provides a cutting-edge survey of current scholarship in this area. Divided into four sections, which cover understanding vocabulary; approaches to teaching and learning vocabulary; measuring knowledge of vocabulary; and key issues in teaching, researching, and measuring vocabulary, this Handbook:
• brings together a wide range of approaches to learning words to provide clarity on how best vocabulary might be taught and learned;
• provides a comprehensive discussion of the key issues and challenges in vocabulary studies, with research taken from the past 40 years;
• includes chapters on both formulaic language as well as single-word items;
• features original contributions from a range of internationally renowned scholars as well as academics at the forefront of innovative research.br The Routledge Handbook of Vocabulary Studies is an essential text for those interested in teaching, learning, and researching vocabulary.
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Furiously funny: comic rage from Ralph Ellison to Chris Rock
A combustible mix of fury and radicalism, pathos and pain, wit and love–Terrence Tucker calls it „comic rage,“ and he shows how it has been used by African American artists to aggressively critique America’s racial divide.
In Furiously Funny, Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.
Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony’s attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America’s legacy of racial oppression.
Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.
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