Request Changes to record. --> Request Changes to record.
This essay argues that, in the face of a number of paradigmatically important shifts in applied linguistics over the past twenty or so years, the term ‘second language acquisition’ (SLA) is no longer fit for purpose, insomuch as it misrepresents or excludes the object of research of many academics in the field today. This essay first offers evidence of the paradigm changes in question before charting the history of the term ‘second language acquisition’ and documenting a number of calls for change that have to date gone largely unheeded. It then presents the emerging alternative terms that constitute the core of many contemporary definitions of SLA: ‘additional language learning’, and ‘additional language development’, briefly discussing the relative merits of both as well as other less likely, but descriptively accurate, alternatives. It concludes by pointing out, firstly, that the changes proposed may be inevitable – we have essentially already redefined the field, we just need to acknowledge it – and secondly, that it is descriptively and ethically appropriate to do so.
Item Type: | Journal Article |
---|---|
Subjects: | > |
Divisions: | > |
SWORD Depositor: | |
Library of Congress Subject Headings (LCSH): | Second language acquisition, Language acquisition, Sociolinguistics |
Journal or Publication Title: | Language Teaching |
Publisher: | Cambridge University Press |
ISSN: | 0261-4448 |
Official Date: | October 2022 |
Dates: | |
Volume: | 55 |
Number: | 4 |
Page Range: | pp. 427-433 |
DOI: | |
Status: | Peer Reviewed |
Publication Status: | Published |
Access rights to Published version: | Open Access (Creative Commons open licence) |
Description: | Christopher Brumfit Essay Prize 2021 |
Date of first compliant deposit: | 8 September 2022 |
Date of first compliant Open Access: | 12 September 2022 |
Persistent URL: |
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Essay: Salman Rushdie’s Next Act
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In his life-affirming memoir “knife,” the writer shows how society must respond to untrammeled hatred..
It was more than 33 years after the Iranian leader Ayatollah Ruhollah Khomeini had issued a fatwa, or Islamic legal ruling, condemning Salman Rushdie to death when the novelist was attacked by a deluded man. This man had not read the novel The Satanic Verses , which had so offended the ayatollah and prompted the fatwa. Nor had Khomeini, who had been smarting under the humiliation of an Iran-Iraq truce and sought to divert the attention of angry Iranians by singling out the book, which he said insulted Islam.
On Aug. 12, 2022, Rushdie was at a literary festival in Chautauqua, a calm retreat in upstate New York. That morning, he was meant to be speaking with Henry Reese, the founder of City of Asylum , a project in Pittsburgh that offers refuge to writers fleeing persecution. Rushdie had helped raise funds when the project launched in 2004. The tranquil surroundings in 2022 symbolized the project’s central idea: a place where writers can be at peace, safe from harm, so they might reflect and write again without fear.
In a mere 27 seconds—the time it takes to read a Shakespearean sonnet, as Rushdie points out in his hauntingly engrossing, sobering, and ultimately life-affirming new memoir, Knife —the man (who Rushdie does not name in the book) rushed toward Rushdie and plunged a knife all over his body, more than a dozen times, severing his tendons and nerves in his left hand. Rushdie lay sprawling on the ground, still conscious. His life was saved, foremost, by Reese (who also took blows and was injured), a doctor who rushed to the site, and other emergency responders who tried to stop the flow of blood.
A long process of recovery followed, permanently altering Rushdie’s life. The attacker had managed to pierce Rushdie’s right eye, destroying its optic nerve; slashed Rushdie’s neck; and wounded other organs. But he had missed vital veins and arteries—only because he did not know how to kill.
Rushdie has spent his life rebelling against the idea that people can be killed for their thought. He has challenged those with power—politicians or religious leaders—and been a persistent and outspoken champion of free speech. Freedom to imagine, think, write, doubt, disagree, challenge, hold one’s own, be irreverent, laugh, ridicule, rejoice, celebrate: These are the foundational principles of his thinking, work, and life.
Rushdie, photographed in his home in London, circa 1988. Horst Tappe/Getty Images
In the process, Rushdie has ended up defending even those who have later profoundly disagreed with him. He has supported the freedom of those who wish him ill. He is in the public eye, but he has not spoken out to court publicity or limelight; rather, he reminds us why we must keep the light shining on the idea of liberty (because darker forces want to snuff it out) and that eternal vigilance is the price of liberty. In his earlier memoir, Joseph Anton , published in 2012, Rushdie wrote about himself in the third person, saying he was aware that defending freedom was a battle that could cost his life: “Is the thing for which you are fighting worth losing your life for? And he had found it possible to answer YES. He was prepared to die if dying became necessary for what Carmen Callil had called ‘a bloody book’.”
During his many years in hiding, there had been undisclosed attempts on his life. Hitoshi Igarashi, the Japanese translator of The Satanic Verses and a scholar of Islamic art, had been murdered; Ettore Capriolo, the Italian translator of The Satanic Verses , was stabbed but survived; and William Nygaard, the book’s Norwegian publisher, was shot. As Rushdie recently recounted in an interview, when he reached out to Nygaard to apologize, Nygaard said: “Salman, don’t apologize. I’m a grown-up. I knew that I wanted to publish The Satanic Verses , and I’m very happy that I did …. Guess what. I’ve just ordered a very large reprint.”
As Rushdie writes in this new memoir, one of his worst nightmares is losing his eyesight; in the attack, he lost one eye. Long before the attack, he had written the manuscript of his 2023 novel, Victory City (his 16th book since the fatwa), in which the protagonist is blinded on orders of an enraged ruler. As Rushdie recovered at home, he was gripped with nightmarish visions of the Duke of Gloucester being blinded in King Lear and the opening sequence of the Luis Buñuel movie An Andalusian Dog , in which a cloud drifting across the moon becomes a razor blade slicing an eye.
Knife , which came out earlier this year, tells in excruciating detail the pain Rushdie endured after the attack. The real hero of the book is Rushdie’s wife, Rachel Eliza Griffiths, whose courage, affirmation, support, and love helped him recover. Courage, Ernest Hemingway wrote, is grace under pressure; Rushdie has shown that courage leads to triumph, for it shows defiant will in the face of violence. Rushdie’s remarkable genius—of word associations; of astonishing memory recalling stories from myths, literature, and history; of playfulness—remains undiminished.
In this reflective memoir, Rushdie writes how in late summer 2022 he felt he had forewarning of the attack. A few nights before the attempt on his life, he dreamt about a man with a spear attacking him. But nightmares must not intrude on reality, Rushdie believed. And yet, that morning he saw a frenzied man race towards him. As Rushdie recalls in the book, his first thought was: “So it is you. Here you are.” And then: “Why now? Really? It’s been so long. Why now, after all these years?”
The questions Rushdie had—Why now? Why after all these years?—are not rhetorical. Born in India’s most cosmopolitan city, then known as Bombay, Rushdie went on to make polyglot London his home. But at the turn of the millennium, with the fatwa clipping his wings and continued uncharitable and churlish criticism of his writing, he decided to leave London for New York, the international city with a mind of its own. Rushdie wanted to remake himself, to leave life under the shadow of the fatwa, which often made it seem as if he had written only one book.
For those of us who grew up in post-independence India, and particularly those from Bombay, Rushdie’s novel Midnight’s Children made many of us feel English was our language, as well. We could do it, too; it was not an alien language. We too owned it.
I first met Rushdie in 1983, on his first visit to India after he won the Booker Prize for Midnight’s Children . (I’ve interviewed him several times since, reviewed his works, and in recent years been in conversations with him at literary festivals.) Many of us were appalled when, in 1988, India became the first country in the world to effectively ban The Satanic Verses by preventing its import; its Indian publisher, meanwhile, decided not to publish it. At the time, I worked at the magazine India Today and wrote among the earliest editorials criticizing that profoundly illiberal act by the Indian government.
The Satanic Verses is easily among the most imaginative novels of all time. It is about hybridity, migration, and our divided selves—where angels take on the garb of devils, and devils can deceive and appear angelic. It is multilayered. It is about two men landing in Britain from an exploded jet, one of whom is an actor who loses his mind and imagines the birth of a great religion. In the hallucination the protagonist imagines listening to divine voices and later rejects some verses as inspired by the Satan. This is from an episode from Islamic history and ripe with speculative possibilities. What kind of an idea are you, the protagonist asks in the novel, “Are you the kind that compromises, does deals, accommodates itself to society, aims to find a niche, to survive; or are you the cussed, bloody-minded, ramrod-backed type of damnfool notion that would rather break than sway with the breeze? – The kind that will almost certainly, ninety-nine times out of hundred, be smashed to bits; but, the hundredth time, will change the world.”
Rushdie persists, and remains important, because of that spirit of defiance. The Satanic Verses celebrated the migrant, the marginalized, the one cast on an alien shore forced to adopt new norms. The migrant blended into the city and changed it, though the city remained “visible but unseen.” He had to transform himself, and in that confused state it became difficult to distinguish between history and myth, between fact and lies, between certainty and doubt.
The fatwa was the ultimate test. Rushdie could change himself and write different kinds of books—safer, simpler, offering comfort. He could become less of an artist, scared into submission, avoiding risks. Or he could write angry books seeking revenge. Both approaches would have distracted him from the path he had chosen, that of a storyteller. “One of the greatest acts of will that I’ve ever performed in my life was to try and not let my writing be knocked off track [by the fatwa],” he said recently.
The British government offered Rushdie protection after the fatwa was issued, and some of his closest friends—Ian McEwan, Christopher Hitchens, James Fenton, Martin Amis, and others—defended him. But many other public figures, including John le Carré, John Berger, Germaine Greer, Hugh Trevor-Roper, then-Prince Charles, and Jimmy Carter, all felt Rushdie was somehow wrong; that he had overstepped the mark, and that offending the faith was simply not done.
Rushdie was active on issues of race in Britain, speaking out for racial equality and joining anti-racism campaigns during the tumultuous 1970s when the right wing National Front party began marching through British cities, inspired by Winston Churchill’s opposition of migration from Caribbean countries in the 1950s and Conservative parliamentarian Enoch Powell’s speech warning of “ rivers of blood ” if uncontrolled migration from former colonies continued. When graffiti saying “KBW,” or “Keep Britain White,” began to appear in immigrant neighborhoods, Rushdie spoke up. But after the fatwa, many of the people he supported also wanted him prosecuted, and some were burning The Satanic Verses in British towns.
From left to right: American authors Susan Sontag, Gay Talese, E. L. Doctorow, and Norman Mailer are seated among a group of people at Writers in Support of Salman Rushdie in New York City on Feb. 22, 1989. Sara Krulwich/New York Times Co./Getty Images
As Rushdie puts it in Joseph Anton : “He needed to understand that there were people who would never love him. No matter how carefully he explained his work or clarified his intentions in creating it, they would not love him. The unreasoning mind, driven by the doubt-free absolutes of faith, could not be convinced by reason. Those who had demonized him would never say, ‘Oh, look, he’s not a demon after all.’ … He needed, now, to be clear of what he was fighting for. Freedom of speech, freedom of the imagination, freedom from fear, and the beautiful, ancient art of which he was privileged to be a practitioner. Also skepticism, irreverence, doubt, satire, comedy, and unholy glee. He would never again flinch from the defense of these things.”
In Knife , there is a section where Rushdie imagines a conversation with the failed assassin, who tells Rushdie: “You are hated by two billion people …. You must feel like a worm. Beneath all your smart talk, you know you are less than a worm. To be crushed beneath our heel.” It hurt Rushdie that India, where he was born, was the first country to restrict The Satanic Verses , and that India’s Hindu nationalist leadership had nothing substantial to say about the attack on Rushdie in 2022. Rushdie didn’t have anything good to say about Indian Prime Minister Narendra Modi’s politics either—in speeches, in a short piece he wrote for an anthology I co-edited when India turned 75, and most importantly in Victory City , which was published after the attack and is a love letter to the pluralist India getting lost in the Modi era.
Victory City , published in early 2023, tells the story of Pampa Kampana and the city she creates, Bisnaga. Bisnaga is a corrupted way to pronounce Vijaynagara (“city of victory”), a real city-empire in southern India between the 14th and 16th centuries. As a girl, Pampa Kampana saw her mother burn herself, and a goddess gave her divine powers and a curse: She was to fight to protect women from being burned and would live a long time. She was to see both the success and failure of her mission, because what is life, if not victory and defeat? The narrative she writes is appropriately called Jayaparajaya , or “victory and defeat.”
By spraying magical seeds on the ground, Pampa created Bisnaga and lived for 247 years—a period approximating the length of the Vijayanagara empire, and also, as Judith Shulevitz noted in the Atlantic , coinciding with the length of time from 1776, the year the United States declared independence, to 2023, the year of the novel’s publication. Pampa Kampana’s vision—tolerance, women’s rights, equality—coincided with the liberal instincts of India’s founding fathers, which the Modi administration seems so determined to overturn. Victory City ends: “While they lived, they were victors, or vanquished, or both. Now they are neither. … I myself am nothing now. All that remains is this city of words. Words are the only victors.”
Augustus expelled Ovid, but Ovid’s poetry survived. Joseph Stalin sent Osip Mandelstam to the Gulag, but Mandelstam’s verses remain; Stalin’s deeds only record Soviet darkness. Francisco Franco’s fascists killed Federico García Lorca, but his works are recalled around the world; Aleksandr Solzhenitsyn outlived the Soviet Union, and Liu Xiaobo will be remembered long after Xi Jinping is forgotten. Words outlive tyrants.
Writers gather to read selected works of Rushdie, one week after he was stabbed, during a rally to show solidarity for free expression outside the New York Public Library in New York City on Aug. 19, 2022. Timothy A. Clary/AFP via Getty Images
In 2000, Rushdie came to the United States. He wanted to live his life, enjoy his liberty, and pursue happiness. He succeeded, although his early days in New York weren’t easy. Some people would balk being near him, and he thought the only way he could stop that was by behaving as if he were not scared. He had to show them that there was nothing to be scared about. As the years passed, not only was it possible to see Rushdie at art galleries, parties, restaurants, or walking in a park or strolling on a sidewalk, he continued to speak for liberty. As Knife shows, through love, and Griffiths, his wife, he discovered happiness. It is not easy to write about happiness. Rushdie cites the French writer Henry de Montherlant: “Happiness writes in white ink on white pages.” Easy to experience, difficult to describe.
Rushdie speaks on stage at the 2023 PEN America Literary Gala at the American Museum of Natural History in New York City on May 18, 2023. Cindy Ord/Getty Images
Rushdie fought for the freedom of thought and the freedom to speak long before he wrote his first novel, Grimus , in 1975. He was involved with the literary and human rights society English PEN and later was president of PEN America. He helped setting up Reese’s City of Asylum project, and with enlightened European activists he supported the formation of the International Cities of Refuge Network , a coalition of 86 cities in Europe and the Americas that has provided temporary refuge to more than 200 writers and artists from around the world. He has unfailingly helped writers seeking help— supporting Taslima Nasrin of Bangladesh, who was hounded by fundamentalists, and honoring the slain cartoonists of the satirical French magazine Charlie Hebdo . As former chair of the Writers in Prison Committee at PEN International, on a few occasions I had to reach out to Rushdie to seek a statement from him, or some intervention or other help, to help a writer in distress. He responded promptly and unflinchingly.
But being firm in his commitment to freedom of expression does not make Rushdie stubborn. He has reflected on the spread of the internet and its profusion of voices and what they can mean. The internet lets lies travel fast and wide (including those with sinister consequences, such as election denial or questioning the effectiveness of science and vaccines). In a conversation I had with him and the German writer Carolin Emcke in 2021, Rushdie reflected on European restrictions on lies and propaganda and whether they could be effective in stopping the spread of hate speech. “One has to distinguish between hate speech and falsehood,” he said, “and the speech with which we disagree. We have to somehow find that line.”
Rushdie has discovered outrageous statements attributed to him spread far and wide on the internet, reappearing despite his periodic, strenuous, and exasperated denials of the attributions. In a 2020 story he wrote in the New Yorker , “The Old Man in the Piazza,” he showed that Manichaean divide of false binaries is crowding out nuance and arguments.
Rushdie is also dismayed by the way the progressive world has ceded the battle of free speech to the unscrupulous right. In Knife , He writes of progressives’ priorities evolving, wherein “protecting the rights and sensibilities of groups perceived as vulnerable would take precedence over freedom of speech, which the Nobel laureate Elias Canetti had called ‘the tongue set free.’” The right, Rushdie writes, has “a new social agenda, one that sounded a lot like an old one: authoritarianism, backed up by unscrupulous media, big money, complicit politicians, and corrupt judges”—far away from the ideas of freedom Rushdie understood, of Thomas Paine, of the Enlightenment, of John Stuart Mill.
German Chancellor Olaf Scholz (left) speaks with Rushdie and his wife, Rachel Eliza Griffiths, in Berlin on May 16. Guido Bergmann/Bundesregierung via Getty Images
One question Rushdie reflects on in Knife is: What to do with the gift of time he now has, thanks to extraordinary love from his family and close friends and the exceptional skills of the medical professionals who treated him? He would like nothing better than to be what he has wished to be—the writer in a room making things up and writing those stories. Once, Rushdie did not think he would write about the attack, but his agent and friend Andrew Wylie was convinced that he would. In Knife , Rushdie explains his change of heart: “To write would be my way of owning what happened, taking charge of it, making it mine, refusing to be a mere victim. I would answer violence with art.”
Salman Rushdie’s life, ideas, literature, and beliefs have been steadfast in upholding love over hate, truth over falsehoods, doubt over certainty, defiance over compliance, and art over noise. Joseph Anton was written in the third person, as if Rushdie was looking at himself by stepping outside that experience—of the fatwa—and leaving it behind him. With Knife , he has returned center-stage with a singular account in the first person.
Rushdie loves comics; when he joined social media, he doffed his proverbial hat to Popeye the Sailor and wrote, “I yam what I yam.” And so he is.
Salil Tripathi is a writer based in New York. He is the author of The Colonel Who Would Not Repent: The Bangladesh War and Its Unquiet Legacy , and he is working on a book about the Gujaratis.
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Her work was recognized with an Honourable Mention for the 2022 Faculty of Education Doctoral Student Excellence Award. She is the winner of the 2022 Christopher Brumfit Essay Prize by Language ...
Language Teaching congratulates the winner of the Christopher Brumfit Essay Prize for 2022, Dr. Meng Liu, for the article "Whose open science are we talking about?
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CHRISTOPHER BRUMFIT ESSAY PRIZE2021 WINNER What's in a name? Why 'SLA' is no longer fit for purpose and the emerging, more equitable alternatives Jason Anderson University of Warwick, Coventry, UK Email: [email protected] (Received 7 May 2022; accepted 21 May 2022) Comments from the reviewers
International Decade of Indigenous Languages 2022 - 2032 Inclusive Presenter Guidelines Additional Presenter Resources Applied Linguistics Resources GSC Website Guidelines ... CHRISTOPHER BRUMFIT ESSAY PRIZE . Monday, November 11, 2019 at 12:00 AM (EST) to Sunday, December 1, 2019 at 1:00 AM (EST)
Christopher Brumfit Essay Prize 2020. September 30, 2020. Editor's note: In this piece, we share information, adapted from Cambridge.org's website, to promote news about an exciting prize opportunity in our field. Language Teaching, a Cambridge University Press journal, has announced the award of an essay prize which honors one of the ...
2022 Christopher Brumfit Essay Prize Winner, Language Teaching. Honourable Mention for 2022 Faculty of Education Doctoral Student Excellence Award ...
Wednesday 2 February 2022, 9.00-11.00 am, Oslo time. ... Read more about the Christopher Brumfit Essay Prize 2024 (cambridge.org). P.O. Box 4, St. Olavs plass NO-0130 Oslo Norway Tel.: +47 67 23 50 00 Norwegian; Accessibility statement; Cookies policy; Employee directory; Employee website;
Date: 04-Nov-2019 From: Jasone Cenoz <jasone.cenozehu.eus> Subject: Christopher Brumfit Essay Prize E-mail this message to a friend Language Teaching announces the award of an essay prize which honours one of the founding editors of this journal. Further information:
Christopher Brumfit Essay Prize 2021. Request Changes to record. Abstract. This essay argues that, in the face of a number of paradigmatically important shifts in applied linguistics over the past twenty or so years, the term 'second language acquisition' (SLA) is no longer fit for purpose, insomuch as it misrepresents or excludes the object of research of many academics in the field today.
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On Aug. 12, 2022, Rushdie was at a literary festival in Chautauqua, a calm retreat in upstate New York. That morning, he was meant to be speaking with Henry Reese, the founder of City of Asylum, a ...
Christopher Brumfit Essay Prize 2024. April 29, 2024. Editor's notes: The following announcement is shared with TIRF supporters by Cambridge University Press and has been adapted for the purposes of communications from TIRF. Language Teaching has announced the award of an essay prize which honors one of the Founding Editors of the journal.
christopher brumfit essay prize 2020 30 November 2020 @ 08:00 - 17:00 « PRECISI 2020 (Planul naţional de cercetare, dezvoltare și inovare pentru perioada 2015-2020, PNCDI III)
Perm Krai weather forecasts - find forecasts for any city. Perm Krai Weather Forecasts - complete list of cities.
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25 Nov 2022 · Report. Perm couples became winners and prize-winners of the All-Russian competitions "For the prizes of the Governor of the Perm Territory" in figure skating. The first place was taken by Yulia ARTEMYEVA / Alexey BRUHANOV, Perm Krai, SSHOR "Start", silver medals were won by Elizaveta ROMANOVA / Valery NAZAROV, Perm Krai ...