This paper reports on part of the findings of a study that explores the perceptions of Chinese ELT stakeholders on native speakerist practices in ELT.Data related to this paper were collected through questionnaire sur...This paper reports on part of the findings of a study that explores the perceptions of Chinese ELT stakeholders on native speakerist practices in ELT.Data related to this paper were collected through questionnaire surveys of 817 Chinese EFL students and 26 Chinese EFL teachers,of whom 26 students and 14 teachers attended follow-up interviews.Data analysis via a critical lens suggests that the majority of the participants uphold Inner Circle culture as the bedrock of English and the reference model of ELT.These suggest the continuity of native speakerist ideology in China’s EFL education.Future studies are expected in view of the finding that an unneglectable proportion of the participants maintain a neutral stance on these issues.展开更多
Humour is the infallible and never-outdated medium for creating intimacy and collective understanding among peoples of versatile interests and,sometimes,conflicting attitudes.It is the moment of catching the humorous ...Humour is the infallible and never-outdated medium for creating intimacy and collective understanding among peoples of versatile interests and,sometimes,conflicting attitudes.It is the moment of catching the humorous effect that counts.Humour creation is not easy because the factors that would trigger laughter vary from one person to another.Creating humour on an international level demands distinguished abilities,as it is hard to accommodate all the factors that would motivate diverse peoples and social brackets to laugh at the same time for the same reason,due to national,historical and cultural factors.The hypothesis is based upon the assumption that the world societies speak the same language with the same dialect.Yet,the situation gets complicated if translation problems and techniques are considered,and it turns to exigently complex when the source dialect differs from that of the targeted audience.However,the latter case has never been a problem for the Egyptian drama,as the entire Middle Eastern societies can transcend the dialect barrier.Notably,the vernacular dialects in the Middle East region are fundamentally diverse to extent that they are,sometimes,incomprehensible altogether.Recently,along with the growing hegemony of the online streaming forums as well as their attempt to glo-balise the streamed content to attract more subscribers,an active process of subtitling and dubbing are initiated.In the process,all the problems of translation,subtitling and dubbing came to the fore.The article discusses the Netflix intralingual subtitling/dubbing of the Egyptian comedies from the Egyptian vernacular dialect into MSA with reference to the famous^([20])and hilariously comic Egyptian films“el-Limby”(2002)and“Illy Baly^([21])Balak[You-Know-Who]”(2003)starred by the Egyptian actor Mohamed S’ad.The article also seeks to underline the influence of the Netflix subti-tled/dubbed MSA content upon the Middle East region.展开更多
文摘This paper reports on part of the findings of a study that explores the perceptions of Chinese ELT stakeholders on native speakerist practices in ELT.Data related to this paper were collected through questionnaire surveys of 817 Chinese EFL students and 26 Chinese EFL teachers,of whom 26 students and 14 teachers attended follow-up interviews.Data analysis via a critical lens suggests that the majority of the participants uphold Inner Circle culture as the bedrock of English and the reference model of ELT.These suggest the continuity of native speakerist ideology in China’s EFL education.Future studies are expected in view of the finding that an unneglectable proportion of the participants maintain a neutral stance on these issues.
文摘Humour is the infallible and never-outdated medium for creating intimacy and collective understanding among peoples of versatile interests and,sometimes,conflicting attitudes.It is the moment of catching the humorous effect that counts.Humour creation is not easy because the factors that would trigger laughter vary from one person to another.Creating humour on an international level demands distinguished abilities,as it is hard to accommodate all the factors that would motivate diverse peoples and social brackets to laugh at the same time for the same reason,due to national,historical and cultural factors.The hypothesis is based upon the assumption that the world societies speak the same language with the same dialect.Yet,the situation gets complicated if translation problems and techniques are considered,and it turns to exigently complex when the source dialect differs from that of the targeted audience.However,the latter case has never been a problem for the Egyptian drama,as the entire Middle Eastern societies can transcend the dialect barrier.Notably,the vernacular dialects in the Middle East region are fundamentally diverse to extent that they are,sometimes,incomprehensible altogether.Recently,along with the growing hegemony of the online streaming forums as well as their attempt to glo-balise the streamed content to attract more subscribers,an active process of subtitling and dubbing are initiated.In the process,all the problems of translation,subtitling and dubbing came to the fore.The article discusses the Netflix intralingual subtitling/dubbing of the Egyptian comedies from the Egyptian vernacular dialect into MSA with reference to the famous^([20])and hilariously comic Egyptian films“el-Limby”(2002)and“Illy Baly^([21])Balak[You-Know-Who]”(2003)starred by the Egyptian actor Mohamed S’ad.The article also seeks to underline the influence of the Netflix subti-tled/dubbed MSA content upon the Middle East region.
