Oldal 18 [18]
INTRODUCTION
The chapter by Judit Nagy, entitled Multimodal Codes of the “Voice” of the
Place in the Environmental Artwork of Diaspora Koreans in Canada, reflects
on environmental art works which are “about and in places, and human rela¬
tions within these places. Hence, the ‘voice’ of the place is in the work, wheth¬
er foregrounded or not.””* That is, the location where these works are conceived
and produced forms an organic part of the work. At the same time, the human
context of the location also lends it a special dimension or feel, summiting in
the “voice” of the place. Often, this “voice” is presented through multimodal
codes among which the audience must navigate in order to explore and inter¬
pret the given artwork. In accordance with this premise, after defining the
notion of environmental art in a broader sense and providing some important
details of the underlying philosophy, the chapter reflects on Korean—Cana¬
dian environmental artists’ concept of the “voice” of the place in the light of
the environmental art works they have produced, paying special attention to
the multimodal codes they use and how this affects the interpretive process.
The analysis focuses on two Korean—Canadian artists, Hyun-Min Yoon and
Khan Lee, and their works entitled “The Door Series” and “Spring Dream,”
respectively.
The closing chapter in the section on code-switching in performing arts,
written by Adam Bethlenfalvy, offers an insight into the use of code-switching
as part of applying the Teacher in Role technique in the drama classroom. The
paper starts out by offering connections between linguistic code-switching
and “dramatic” code-switching through the examination of the work of con¬
temporary dramatist Edward Bond. Then the author goes on to clarify the
possibilities of the practical implementation of code-switching in the drama
classroom. The paper focuses on the “Teacher in Role” technique, as it provides
a variety of ways through which the drama practitioner can legitimately switch
codes in a classroom context, and it offers a number of educational benefits in
a safe, exploratory environment created by the application of dramatic fiction.
Code-switching between teacher talk and role—allowed language offers par¬
ticipants the opportunities to explore their reactions and their own use of
language in a variety of situations, while different elements of the fictional
context offer a framework for the productive shifting of codes.
The final section of the book contains four artistic reflections and two in¬
terviews. The interviews allow readers to get directly in contact with the worlds
of the authors asked and gain an insight into their artistic processes. At this
phase of multilingualism studies, this is of crucial importance. Its aim is to
bridge the gap between the way scholars look at multilingualism of artistic
processes and as authors experience it. Cia Rinne, for instance, focuses on the
2° Beth Carruthers: Ecoart in Canada: A Conversation and a Brief Survey of the Terrain, Wom¬
en in Environmental Art Dialogue 6 (2010).
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