With millions of people becoming multilingual writers in the globalized digital world, this book helps to empower writers to connect with their readers and project their identities effectively across languages, social contexts, and genres. In a series of closely-related studies that build on each other, we look comprehensively at how writers develop their ability to construct meaning for different audiences in multiple languages. This book, which draws on various approaches (including a social view of writing, multicompetence, adaptive transfer, complex systems theory, motivation, and translanguaging), contributes to on-going efforts to integrate differing approaches to multilingual writing research. This book focusses on how writer agency (control over text construction), audience awareness (ability to meet expectations of prospective readers), and writer identity (projection of image of the writer in the text) progress as multilingual writers gain more experience across languages. The within-writer, cross-sectional text analysis (Chapters 2-5) examines 185 essays written in Japanese and English by eight groups of writers from novice to advanced (N=103), supplemented by insights from these writers’ reflections. We explore how they employ three kinds of text features (discourse types, metadiscourse, and self-representation), which relate to their developing agency, audience, and writer identity in their text construction, and propose a new model for writer voice construction based on those features. The four case studies (Chapters 6-9) focus on five university students and six professionals to examine closely how individual writers’ agency, audience, and identity are interrelated in their text construction in two or three languages and diverse genres, including academic and creative writing. The combined studies provide new insights into multilingual writing development by revealing the close interrelationship among these three principal aspects of writing across languages. They also demonstrate the writers’ multi-directional use of dynamic transfer (reuse and reshaping) for L1, L2, and L3 text construction, and the use of mixed languages L1/L2 or L1/L3 (translanguaging) for composing processes, in addition to the creative power of multilingual writers. One significant contribution of this book is to provide models of innovative ways to analyze text and new directions for writing research that go beyond complexity, accuracy, and fluency. Categories and detailed examples of text features used for writer voice construction (e.g., specific characteristics of Personal, Emergent, and Mature Voice) are helpful for writing teachers and for developing writers to improve ways of conveying their own intended writer identity to the reader. The studies break new ground by extending our analysis of L2 writing to the same writers’ L1 and L3 writing and multiple genres.
Peace in Roanapur is fragile, balanced on a powder keg that could explode at any moment. When a mysterious crew of assassins shows up and starts taking out specific members of the city’s underworld, the major players—the Triad, the Sicilians, and Hotel Moscow—have to get involved. The rogue hit squad also seems to have Dutch in its sights, and Rock and Revy begin an investigation. Tracking down the killers means lifting the lid on Dutch’s background and perhaps exposing the true identity of the skipper of the Black Lagoon. -- VIZ Media
Roberta's vendetta continues as Rock and Revy enlist some old acquaintances to try and catch up with the Killer Maid before it's too late. They're going to have to get in line since Roberta's got everyone from a U.S. military black ops unit to her ex-F.A.R.C. comrades gunning for her, not to mention the CIA and the NSA. When the turmoil becomes more than the city's criminal underworld can bear, Balalaika and Hotel Moscow enter the game. With so many players at the table, it's winner take all, and the stakes couldn't be higher! -- VIZ Media
After their trip to Japan, the crew of the Black Lagoon winds down back in Roanapur. The R&R doesn’t last long—Jane, a counterfeiter on the run from Florida-based gangsters, seeks refuge with the Church of Violence, kicking off a hot pursuit involving some of Roanapur’s more colorful guns-for-hire. Later, half a world away in Venezuela, a bomb blast shatters what calm Garcia and Roberta have managed to restore to their lives. Garcia tries to sway Roberta from seeking vengeance, but the “Bloodhound of Florencia” will have justice, and woe to anyone who gets in her way! -- VIZ Media
Rock and Revy form an uneasy alliance with Ginji, the Washimine-gumi's top enforcer, to rescue Yukio from her kidnappers. Even if she can be freed, Rock finds Yukio's position as the new head of the Washimine-gumi hard to accept, especially when it calls his beliefs and loyalties into question. The conflict between Hotel Moscow and the Washimine spirals into greater violence, setting Rock and Revy on a collision course with Balalaika, and ultimately, a shocking climax that will change Rock forever. -- VIZ Media
The action shifts to chilly midwinter Tokyo, where Balalaika hires Rock as her interpreter, and Revy comes along as Rock's bodyguard. The Washimine-gumi, a Yakuza family on its way down, wants to make a deal with Hotel Moscow. Soon, however, the yakuza realize they might have been better off making a deal with the Devil himself! As the pressure builds, Rock faces the reality of his outlaw life, and Revy meets her match in the Washimine's number-one enforcer. The icy streets of Tokyo are about to burn red-hot! -- VIZ Media
Rokurō Okajima is just an average Japanese salaryman, living an average life. But when he's taken hostage by the crew of the Black Lagoon, Rokurō finds himself thrown headfirst into a deadly world of outlawed heroes, brutal villains, and blazing gunfights. Where he ends up is anyone's guess, but one thing is for certain—he's in for a wild ride! -- VIZ Media
Roanapur explodes as Roberta's vendetta against a top secret U.S. Special Forces team brings out the city's heaviest hitters. Balalaika and the ex-Soviet military troops of Hotel Moscow face off with Major Caxton's Grey Fox unit as it tries to fight its way out of Roanapur. Meanwhile, Rock, Revy and Garcia Lovelace continue their pursuit of Roberta, hoping to catch up to her before the Killer Maid's own demons run her down. But if they do find her, Roberta's thirst for revenge may consume more than just those who wronged her... -- VIZ Media
With millions of people becoming multilingual writers in the globalized digital world, this book helps to empower writers to connect with their readers and project their identities effectively across languages, social contexts, and genres. In a series of closely-related studies that build on each other, we look comprehensively at how writers develop their ability to construct meaning for different audiences in multiple languages. This book, which draws on various approaches (including a social view of writing, multicompetence, adaptive transfer, complex systems theory, motivation, and translanguaging), contributes to on-going efforts to integrate differing approaches to multilingual writing research. This book focusses on how writer agency (control over text construction), audience awareness (ability to meet expectations of prospective readers), and writer identity (projection of image of the writer in the text) progress as multilingual writers gain more experience across languages. The within-writer, cross-sectional text analysis (Chapters 2-5) examines 185 essays written in Japanese and English by eight groups of writers from novice to advanced (N=103), supplemented by insights from these writers’ reflections. We explore how they employ three kinds of text features (discourse types, metadiscourse, and self-representation), which relate to their developing agency, audience, and writer identity in their text construction, and propose a new model for writer voice construction based on those features. The four case studies (Chapters 6-9) focus on five university students and six professionals to examine closely how individual writers’ agency, audience, and identity are interrelated in their text construction in two or three languages and diverse genres, including academic and creative writing. The combined studies provide new insights into multilingual writing development by revealing the close interrelationship among these three principal aspects of writing across languages. They also demonstrate the writers’ multi-directional use of dynamic transfer (reuse and reshaping) for L1, L2, and L3 text construction, and the use of mixed languages L1/L2 or L1/L3 (translanguaging) for composing processes, in addition to the creative power of multilingual writers. One significant contribution of this book is to provide models of innovative ways to analyze text and new directions for writing research that go beyond complexity, accuracy, and fluency. Categories and detailed examples of text features used for writer voice construction (e.g., specific characteristics of Personal, Emergent, and Mature Voice) are helpful for writing teachers and for developing writers to improve ways of conveying their own intended writer identity to the reader. The studies break new ground by extending our analysis of L2 writing to the same writers’ L1 and L3 writing and multiple genres.
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