The ability to translate abstract concepts from one language to another also develops the skill to look at tangible problems in more than one abstract way. Did you know that people who speak more than one language tend to make fewer errors in their driving? A side benefit, nonetheless! Bilingual adults and children seem to have social and emotional benefits like being able to internalize negative states like anxiety, aggression, anger, loneliness or low self-esteem less frequently.
They have greater tolerance and less racism. It seems likely bilinguals would be more tolerant of differences and more open to diversity. According to studies, bilinguals tend to make better rational and financial decisions. This can manifest early in life as an active interest in different educational avenues.
Museums, fairs and street festivals, and even just visits to neighborhoods will have an inherent interest to bilingual children that monolingual children may not share. Children raised bilingual are more likely to show tolerance for other cultures at a young age.
They play more easily with children who do not speak their language or who come from different socioeconomic backgrounds, and are more likely to show an interest in socializing beyond their established circle.
In early childhood, this helps greatly with school, which focuses heavily on social skills in the lower grades. It can also help prevent disciplinary needs later in life — more tolerant children are, overall, better-behaved children. Bilingualism promotes overall cognitive development because a bilingual individual encounters the world from two different language perspectives, which prevents them from having a limited experience.
This extended way of thinking facilitates the approach to cognitive problems and higher level of abstract thinking. Bilingual adults have a clear edge in business world. By being able to communicate in two languages, you have twice as many opportunities to land a great job. Adults can acquire the same skills and strengths through bilingual training, but it happens much more slowly how much spare time do we have in our busy adult lives?
In conclusion, Bilingual individuals are the new norm and if you are monolingual you are staying behind the curve. Advantages of Being Bilingual.
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Advantages of Being Bilingual Essay. This does not mean that I would publish 'anything', but rather that I find interest and beauty in words.
As a reader and publisher, I look for meaningful, engaging literature-poetry of all genre that moves me emotionally, in all directions. I want to feel what the writer is expressing. I want to experience their words-to visualize their ex-pression. Fine poetry must be intelligent, have a consistent flow and deliver a specific message, regardless of its origin.
I think I would be less tolerant of "poor English" than poor multilingual writing. I'm sure this is because I deal more with American poets.
I want to offer the benefit of doubt to the writer who is learning and struggling. It's the 'message' I am seeking, and will give leeway on how it's delivered, as long as the passion and talent are brilliantly engaged. I live in Portugal. I sent an English-written manuscript to a publisher here in Portugal , but unless you're very famous To be dead is helpful too. No one wants to know. I don't really blame them. I have made attempts to write in Portuguese, but find the grammar too restraining.
In Norway , as I also suppose is the case in other countries, there exists a cultural policy that in principle and aim protects its cultural values based on its historical and political traditions. Thus it is so that, according to these parameters, I believe that commercial publication of bilingual editions of poetry generally requires government support and mandates; and current national policy leaves little room for such at the present time.
In Norway officially approved books are subsidized by the state with the purchase of a considerable number of each book to be distributed to various institutions of the Kingdom, such as libraries etc. As the press as much as the magazines has a certain influence in this country, they accordingly in one way or another respond to these directives most faithfully.
Although I cannot speak for other publishers, especially for the motivations of large publishing houses, I would assume they look for intellectual texts that are expertly translated and well written; employing the same standards they would use for English texts. I doubt they give much latitude to any writers. I would think they seek perfection. Publishing wonderfully-composed multicultural texts is an enriching experience for any publication, and large houses would strive for the very finest.
I believe there is a flourishing market for multicultural texts in the USA , as for English writing in other countries. Fernando Pessoa was bilingual, English but I prefer his Portuguese poems. Kevin Johansen, because he is a not in actuality a poet, but rather a modern-day troubadour who moves between two worlds and two languages where he nicely shapes his condition for being and not being poetic - "non-poetic" I would say, with humour and distance.
A sort of continual refugee - sometimes singing in English and sometimes in Castilian - constantly playing with questions about identity: Do you happen to know his work? One of them is Adam Donaldson Powell, for he has the sensitivity and breadth which I find quite exceptional. His Weltanshauung is combined with an intelligence of the heart - in short, empathy. Great writers and poets cannot only be talented cynics, they have to show compassion, at least that is how I value great literature.
And Adam Donaldson Powell has all of this combined in his poetic work - he is also an artist and a musician, which makes him a renaissance man. I can't say that I have favourites, as I have had the pleasure of reading the work of so very many wonderful writers, but I would say that I am partial to those who create flowing, free verse. Amitabh Mitra writes wonderful poetry in English, his poems a strong reflection of his Indian heritage. I find his writing sensual and intriguing.
So if I were to have favourites, Amitabh would be at the top of my list. I also admire the vision and work of Sheema Kalbasi, who is a human rights activist, poet and translator. Besides being multilingual, she is multi-talented!
There are too many fine talents in this world to select just a few. Yes I think so. But there are magazine editors who reject my work point blank because it sounds "foreign". These persons will always exist. They are the true critics of the future, those that read and write their critical commentaries in their own languages, including some languages and dialects which are in danger of extinction.
But they will eventually appear upon the "great stage", and they will re-take into their hands the pens which were snatched from them. Unfortunately I am not bilingual, but have had two of my own short stories translated by the French editor Eric Tessier, and published in the esteemed French Magazine, Place au[x] sens.
I am unable to offer an opinion as to whether or not other publishers and critics are well-equipped to properly judge bilingualism. However, I have found the editors and translators I have worked with to be competent, fair-minded and extremely dedicated. You have given me many things to think about. Both my collections "Letters from Portugal " and "La Strada" had an editor. I'm lousy as a proof reader of my own work. The reason is that it is "right" in my head. I self-published a collection of poetry "Lunch in Denmark " and only when the book was printed did I see the myriads of grammatical and spelling flaws.
As an autodidact I'm feeling the language more than actually knowing it; that's because I think in English sentences. The drawback is when I read Norwegian. I'm too critical of my own language when I read the news on the internet for example Norwegian tabloids.
They seem to be written to suit the lowest nominator; the language has been flattened. But having been away from Norway for so long my views could be old-fashioned.
When writing in English there are moments when I don't find the right word, but I don't think about what it is called in Norwegian. I sort of work around and find an ex-pression that fits. English is an elastic language, but I still make so many mistakes.
It always embarrasses me because I can see them when they are pointed out to me, and I spend much time kicking myself. I'm therefore glad when an editor takes the time and indiscretions. But there are times when an editor proposes to change the ending of a poem, and that's bloody annoying.
Yes, I am done except for the following question: Which Norwegian poet, really fulfills the conditions of being both a catalyst and bridge for dialogue between two or more languages? I mean, a poetic catalyst that can create a multilingual arena in the Norway of today? Perhaps Erling Kittelsen, a true advocate for bilingual literature -- both in Norway and in other countries.
You would think that after a while, all would blend together and I would become desensitized. However, I'm still like a kid in a toy store when I read submissions - and a perfect description is that I become 'overtaken' by certain pieces - even 'awed'.
I am very emotional and crave the satisfaction of 'words. I find multicultural poetry to fulfill these requirements, more often than not. But again, I am a lover of the written word.
As they say, beauty is in the eye of the beholder, in my humble opinion; the wonder of words is a perceptual gift for both author and reader.
Thank you for the opportunity and honour of participating in your interview and discussion concerning multilingual poetry. One thing is certain: I am truly impressed by the enthusiasm of the interviewees, their candidness and the many different perspectives and opinions given.
I am also quite pleased to sense the high degree of dedication to "the art of poetry" expressed, given that poetry is perhaps not the most lucrative form for writing in this day and age. And finally, I am overjoyed to see that several international poets can affirm that poetry is still a vital art form in contemporary literature, and an important mechanism for communication and understanding between persons from diverse cultures.
Well, someone always gets to have the last word. For me it is a very simple matter of actually achieving proficiency in more than one language and where it becomes an artistic challenge to explore the experience of writing in both. I have also been interested in combining two or more different languages in a performance or written context as a means of exploring the resonances that arise between the different languages.
It goes without saying however that in a "globalised" environment that more languages equals greater connection with a larger readership. For me it is not about ego. Poetry writing has never been something I have consciously "chosen": I began writing poetry in Norwegian my second language simply because the poetry began "coming" to me also in Norwegian. Always for me the artistic considerations and the context are key - who is the audience you are trying to reach, what are you trying to express and how can you best achieve both.
I agree with AR. This is a given: There comes a point in the writing process where even when one is writing in one's own native language that one needs input from others, simply because one lacks the necessary distance. What one does with the input is up to the writer but resistance only aids the creative process - being put in a position to reconsider and defend one's artistic choices is very healthy and can only improve one's work.
The minute I read anything on the Internet or otherwise in English that is peppered with spelling mistakes and missing punctuation or worse just poor language I lose any interest in the content I stop reading in other words.
We are language professionals - this is our craft and it goes without saying that if one has any respect whatsoever for the art of poetry one also understands the complexity of poetic language and how fragile is the structure of a truly successful poem. A single syllable out of place can deconstruct a poem in its entirety. The work I have done where I have used two languages has always been in connection with performances and the feedback has always been extremely positive.
This has meaning for me only to the extent that I feel that I have realised my own artistic objectives with the project at hand. Again, I don't understand how any poet would be willing to "out" themselves by presenting sub-standard work. For me it comes back to a sincere interest in the craft of writing in itself: Then I guess you deserve what ever fall-out comes your way.
Writing in a second language does not in my mind imply a lowering of standards in any sense. I am interested in reading good literature.
I don't think it is important to write in English, but then I am a native English speaker so perhaps there are issues here that don't effect me and of which I am unaware.
Personally I am witnessing the Norwegian language slowly deteriorating due to the incorporation of anglicisms and this is sad. And my advice for bilingual poets is to follow the urge but if your urge is based on a desire to make a lot of money you are deluded.
See my response to question 4. There is an enormous potential here, in the sense of a non-native language poet being able to enrich and make contributions to the second language through their work. This however is only possible to the extent that they master the second language sufficiently to actually write poetry.
First we walk, then we dance. First learn to write a decent sentence. Then you can think about writing poetry. Faulkner maintained that poetry is in fact the most difficult form of writing and I tend to agree. But then I guess it depends on your definition of poetry: I am so not interested in sentiment or political statements broken down into lines on a page. For me this is not poetry.
For me poetry always functions at the level of language, the poet seeks to transgress and bend the rules and conventions of language at many levels semantically, in terms of syntax and rhythm. As such it goes without saying that you must first know the rules in order to break or bend them or even play with them in a meaningful manner. Bilingual editions are like exotic flowers.
There is very little money to be made on them and if poets are smart they will understand this. As difficult as it is to publish poetry in general, bilingual editions are that much more impossible.
I think poets need to think outside of the box here too, and be willing to explore other alternatives self-publishing, performance works, visual presentation. I am also interested in simply creating beautiful books - a bilingual edition holds a unique potential here and it is up to the poet to explain and promote that potentiality and not least have fun with it!
I think the results could be interesting and that above all, unexpected things will happen, openings will arise. No, I don't think so and mainly because it is a rarity and an innovation also. There remains an enormous conservatism within the literary community and poets suffer from this. Again, we need to take responsibility for this and surely the work will speak for itself?
If there is an audience, we will reach it. I think there is a need for a discussion regarding why in fact bilingual editions are even interesting. Given that the world is getting smaller, certainly there are more and more writers functioning in more than one language.
What are the potentialities here in terms of artistic ex-pression? That is the interesting question for me. The book I had published through AIM Chapbooks in was an attempt to explore this - as I did not create a two language edition per se, but wrote two different poetic texts that spoke with one another and where one could also read each individual language text as a poem in its own right. This for me is an interesting point of departure, more so than a two language edition which essentially is only meaningful in two senses: It makes the work available to a larger readership.
It opens for a discussion regarding the translation of poetry. I am more interested in seeing the two respective languages in action, as it were, at the same time.
How do they resonate against one another in interaction? Ideally I feel also that there is an affect that arises here which inevitably enhances the spatiality of a poetic ex-pression, a dimension which I feel is increasingly lost in much of the poetry I read.
And actually, in Norway this type of bilingual ex-pression is possible because most Norwegians who read poetry have a good working knowledge of English which is my mother tongue and are able to understand enough to get something out of the experience. Proofreaders charge by the hour. They are not expensive. It will take a proofreader two hours to get through a page poetry manuscript.
Any good editor knows this. Keep editing are you in a hurry? Take the time with your craft!!! And then hire a proofreader. If you are broke, trade proofreading favours with a colleague. Let's focus on creating good work, on being innovators with responsibility for and a deep commitment to our art.
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