Aus unseren Neuerwerbungen – Anglistik 2019.11


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 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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