Titlebook: Embodying Language in Action; The Artistry of Proc Erika Piazzoli Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Second Lan

背景

FUME

The Elements of Drama: An Intercultural Perspectiverom an intercultural perspective, and possible implications for second language learning. These include intercultural characters and relationships; intercultural dramatic focus; intercultural dramatic tension, time and place, narrative, language and movement; intercultural mood and symbol; and inter

仔細閱讀

Cardioplegia

Play, Emotions and Distancingindividuals engaged in play, and its implications for second language learning. It also discusses protecting ‘into’ emotions, and distancing in L2/drama. In a praxis-oriented move, the second half of the chapter immerses the reader in a reflective practitioner account of a Content and Language Integ

幸福愉悅感

西瓜

Navigating Performative Language Pedagogy It opens with a brief overview of the Common European Framework of Reference for Languages (CEFR)?levels,?and?alignment with various dramatic forms in performative language pedagogy, both large-scale and small-scale. It also contemplates language assessment in process drama from a variety of perspe

紋章

Performative Research: Methodology and Methodsaphor to make sense of the research problem, and its transformation into a visual metaphor to crystallise the research design. In a reflexive gesture, seven methodological challenges are outlined, framed as ‘problem-setting’ scenarios emerging from the study, problematised within the unique context

命令變成大炮

Learner Engagementr engagement is analysed across three domains. Within the domain of Second Language Acquisition, language engagement is construed as an active perception-in-action process. Within the domain of Intercultural Education, intercultural dramatic tension emerges as a vital element to sustain intercultura

MUTE

Teacher Artistryanguage learning. Translanguaging reflective practice enabled the author to unveil a tacit dissonance in her overt and covert attitudes related to reflecting in action when structuring process drama. The analysis tracks a progression from ‘unconscious incompetence’ to ‘unconscious competence’, acros

encomiast

Conclusion: Embodying Language in Actionprocess drama. It considers issues related to identity in the teacher as artist, and touches on the lingering myth of creativity as the gift of only a talented few—inviting teachers to unsubscribe from this view, to fully embrace the paradigm of the artistry of teaching. It highlights the importance