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Palacký University Olomouc ANGLOPHONE CONFERENCE 26 The publication of this volume was generously supported and completed within the Specific researched project 2119, “Teaching Performing, Performing Teaching,” funded by the Faculty of Education, University of Hradec Králové. Vol. 6 HRADEC KRÁLOVÉ No. 1 JOURNAL 2019 OF ANGLOPHONE STUDIES Volume’s editor: Jan Suk Original illustrations: Ivan Mečl Published: Department of English Language and Literature Faculty of Education University of Hradec Králové Rokitanského 62 500 03 Hradec Králové Czech Republic Print: Tiskárna Brázda, Hodonín Web: pdf.uhk.cz/hkjas/ ISSN: 2336-3347 (Print) ISSN: 2571-032X (Online) Editorial Board Bohuslav Mánek, University of Hradec Kralové, Czech Republic Helena Polehlová, University of Hradec Kralové, Czech Republic Editor in Chief Jan Suk, University of Hradec Kralové, Czech Republic Volume’s Guest Editors Cyrielle Garson, Avignon University, France Daniel Schulze, Theater Konstanz, Germany Advisory Board Blanka Babická, Palacký University Olomouc, Czech Republic Šárka Bubíková, University of Pardubice, Czech Republic Richard Burt, University of Florida, Gainesville, USA Yilin Chen, Providence University, Taichung, Taiwan Jan Comorek, Charles University, Hradec Králové, Czech Republic Milada Franková, Masaryk University, Brno, Czech Republic Jana Harťanská, Constantine the Philosopher University, Nitra, Slovakia Kacie Hittel Tam, University of Georgia, Athens, USA Mirka Horová, Charles University, Prague, Czech Republic Vladimíra Ježdíková, University of Hradec Králové, Czech Republic Ema Jelínková, Palacký University Olomouc, Czech Republic Blanka Klímová, University of Hradec Králové, Czech Republic Stanislav Kolář, University of Ostrava, Czech Republic Şevki Kömür, Muğla Sıtkı Koçman Üniversitesi, Kötekli/Muğla, Turkey Ela Krejčová, Akcent College, Prague, Czech Republic Ivan Lacko, Comenius University, Bratislava, Slovak Republic Pavla Machová, University of Hradec Králové, Czech Republic Marcela Malá, Technical University of Liberec, Czech Republic Michaela Marková, Technical University Liberec, Czech Republic Ryuta Minami, Shirayuri College, Tokyo, Japan Ildiko Neméthová, University of Economics in Bratislava, Slovak Republic Atilla Pató, Charles University, Prague, Czech Republic Hana Pavelková, Czech Technical University in Prague, Czech Republic Jozef Pecina, Comenius University, Bratislava, Slovak Republic Ondřej Pilný, Charles University, Prague, Czech Republic Michal Pištora, University of Hradec Králové, Czech Republic Libor Práger, Palacký University, Olomouc, Czech Republic Václav Řeřicha, Palacký University, Olomouc, Czech Republic Vladislav Smolka, University of South Bohemia, České Budějovice, Czech Republic Martin Štefl, Czech Technical University in Prague, Czech Republic Věra Tauchmanová, University of Hradec Králové, Czech Republic Ladislav Vít, University of Pardubice, Czech Republic Olga Vraštilová, University of Hradec Králové, Czech Republic Michaela Weiss, Silesian University in Opava, Czech Republic Yukari Yoshihara, University of Tsukuba, Ibaraki, Japan CONTENTS Andrea Černíková, Michaela Kašparová, Jan Suk Teaching Performing, Performing Teaching: CT and ELT 11 Květuše Kunešová, Věra Tauchmanová, Eliška Havelková, Radka Vojkovská, Věra Tauchmanová jr. Canadian Experience: a Different Perspective 22 Ondřej Pilný “Ulster Says No” – Again? David Ireland’s Cyprus Avenue, Cliché, and Brexit 29 Hana Pavelková Brexit: Cultural Reflections 39 Christopher E. Koy Performing the Scholar, Performing the Sleuth; Plagiarism in Three American Short Stories 44 Karolina Plicková Temporality and Changes of Perception in the Work of Forced Entertainment (Durational Performances) 54 Tomáš Kačer Theatres of Mind: Staging Psychological Science in Modernist American Theatre 66 Ivona Mišterová The Strange Case of Shylock: From a Figure of Tragic Dimensions into an Ordinary Jewish Bargainer 75 Filip Krajník Romeo and Juliet in the Midst of Early 18th-Century English Party Politics 80 Petr Anténe “Prurient little Victorian ratbag”? An English Jewish Man’s Dealing with the Shadow of Thomas Hardy in Howard Jacobson’s Peeping Tom 91 Monika Hřebačková Multidisciplinary Approaches to Foreign Language Teaching 98 Eva Skopečková Lifelong Learning, Lifelong Translating: a Development Course for EFL Teachers 108 Jan Beneš, Robert Helán, Jiří Kubálek Introducing the STANAG 6001: Strategic and High-stakes Language Testing for NATO in the Czech Republic 120 Libor Práger, Václav Řeřicha The Loneliness of the Teacher in Digital Environment: Changing Education in Contemporary School 129 REVIEWS Michal Pištora Is English Pronunciation Moving Closer to its Spelling? 144 NOTES ON CONTRIBUTORS 150 MISSION STATEMENT AND GUIDELINES FOR SUBMISSIONS 156 ETHICAL STATEMENT 158 Andrea Černíková, Michaela Kašparová, Jan Suk |11 Teaching Performing, Performing Teaching: CT and ELT “Introduction” In lieu of an introduction to the entire volume, the present article functions threefold: firstly, so as to outline the project of performance and pedagogy as well as the actual volume; secondly to navigate through the state-of-the-art knowledge embedded in its theoretical field in order to, thirdly, suggest and design an easy-to-practical applicational exercise. With the advent of digital reality, fake news, artificial intelligence, performative nothing, creative procrastinations, etc. the demand for critical thinking skills should be justified. One of the ways to achieve this is via performative tools, e.g. simulation, analyses, or primarily, pedagogy. At the outset of our project (“we” and “our” pronouns refer to the team behind this paper, i.e. namely Andrea Černíková, Michaela Kašparová and Jan Suk), the initial idea was to map the complex relationship between phenomena of performance and pedagogy. In order to pin down the plethora of various, trajectorial arrays, we came up with the following journal volume proposal: Both performance and pedagogy operate as two–way communication between the agent and the recipient – the performer and the audience, or the teacher and the student. Both performance and pedagogy have the significant potential to transform as well as to fail. This very weakness of theatre as well as pedagogy is also its greatest strength: its authentic possibility to fail. The vulnerability, fragility of both performance and teaching/learning highlights its human nature creating thereby a sympathetic bond with the Other. Therefore, performance/theatre and pedagogy can both be transformative, life illuminating experiences. We invite contributions from all possible areas of English language discourse revolving around ideas connected with performance, theatre, pedagogy and its possible interconnections. Papers are invited from all possible fields, including (but not restricted to): Performance as teaching, teaching as performance Performance and teaching, teaching and performance Performance and research, research and performance Performance as research, research as performance Performance art, its history and application Performance and pedagogy, performance as pedagogy Pedagogy as performance, pedagogy and performance New trends in pedagogy to enhance performance New trends in performance to enrich pedagogy Didactics, methodology and new performance-boosting trends Linguistics and performance Performative linguistics Literatures and performance Literatures and performances Failure as a creative agent ... 12| The scope of the articles accepted and published in the present volume indeed underpins the amoebic quality of these phenomena. The volume opens with two papers written in collaboration with students – an element which the editorial board would like to pursue further in practice. Besides this introductory essay, the following article called “Canadian Experience: a Different Perspective” provides a fresh, hands-on take on what is understood as Canadian identity. Considering the great amount of students’ contribution within these two papers, they have not been the subject of a peer review process. A second novelty regarding the journal is a slightly altered graphic design language which results in greater reader friendliness. Yet, undoubtedly, the first two opening contributions constitute sufficiently thought-provoking and indeed timely material. The first cluster of scholarly articles present opens with an adjusted keynote address delivered by Prof. Ondřej Pilný at the international Hradec Králové Anglophone Conference in 2019. The article titled “Ulster Says No” – Again? David Ireland’s Cyprus Avenue, Cliché, and Brexit” tackles the topical issue of Brexit via performative reading of contemporary theatre. Similarly, Hana Pavelková’s “Brexit: Cultural Reflections” suggests various popular cultural reverberations of the Brexit frenzy. The next set of articles dealing with performativity and academia, plagiarism, time or mind combines various approaches and analyses to highlight the need for being critical. In particular, Christopher E. Koy in his “Performing the Scholar, Performing the Sleuth; Plagiarism in Three American Short Stories” examines the issue of creative plagiarism; Karolína Plicková sees durationality as a crucial element in understanding devised projects of British experimental theatremakers Forced Entertainment in her “Temporality and Changes of Perception in the Work of Forced Entertainment (Durational Performances).” Finally, “Theatres of Mind: Staging Psychological Science in Modernist American Theatre” by Tomáš Kačer critically locates the transformative moment in US drama and theatre
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