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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 relations within these places. Hence, the ‘voice’ of the place is in the work, whether 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 interpret 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—Canadian 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 contemporary 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 participants 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 interviews. 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, Women in Environmental Art Dialogue 6 (2010). +16 e
