This book has two related purposes. The first is to demonstrate the extent and importance of language play in human life; the second is to draw out the implications for applied linguistics and language teaching. Language play should not be thought of as a trivial or peripheral activity, but as central to human thought and culture, to learning, creativity, and intellectual enquiry. It fulfils a major function of language, underpinning the human capacity to adapt: as individuals, as societies, and as a species.

In this exhilarating and often hilarious book, David Crystal examines why we devote so much time and energy to language games, how professionals make a career of them, and how young children instinctively take to them. Crystal makes a simple argument-that since playing with language is so natural, a natural way to learn language is to play with it-while he discusses puns, crosswords, lipograms, comic alphabets, rhymes, funny voices taken from dialect and popular culture, limericks, anagrams, scat singing, and much more.

This book focuses on the unexplored context of contemporary Swedish comic strips as sites of innovative linguistic practices, where humor is derived from language play and creativity, often drawing from English and other European languages as well as social and regional dialects of Swedish. The overall purpose of the book is to highlight linguistic playfulness in Swedish comic strips, as an example of practices as yet unobserved and unaccounted for in theories of linguistic humor as applied to comics scholarship. The book familiarizes the reader with the Swedish language and linguistic culture as well as contemporary Swedish comic strips, with chapters focusing on specific strategies of language play and linguistic humor, such as mocking Swedish dialects and Swedish-accented foreign language usage, invoking English language popular culture, swearing in multiple languages, and turn-final code-switching to English to signal the punchline. The book will appeal to readers interested in humor, comics, or how linguistic innovation, language play, and language contact each can further the modern development of language, exemplified by the case of Swedish.

Interest in language play and linguistic creativity has increased in recent years, and the topic has been taken up from a variety of perspectives. In this book, disparate approaches to the topic are brought together, demonstrating that a number of phenomena whose similarities might not have been immediately recognized, have an academic home under the umbrella of language play and linguistic creativity. The contributions to this collection illustrate the variety of questions that can be asked regarding the social, cognitive, emotional, political, and cultural mechanisms and significance of innovative linguistic practices and point to new directions of inquiry. Furthermore, the work exemplifies a variety of ways in which this research can be carried out, as well as the range of contexts in which it might be investigated, including second language classrooms, online settings, and workplaces. Taken together, the chapters serve to illustrate the range of work that we will be accepting in the Language Play and Creativity series; viewed individually, each makes a unique contribution to some aspect of our understanding of creative language use.

Learning a new language can be very demanding, but it can also be good fun, and in between the hard work of language acquisition there are opportunities for breaks from the regular classroom routine where what has been learned is put to rewarding and practical use. Games Language People Play provides teachers with a variety of language games to make the teaching and learning of a new language an occasion for enjoyable competitiveness. There are 110 games in all, ranging in level from Beginners to Advanced. Each game carries an indication of the language skill or combination of skills being employed -- reading, writing, listening, speaking -- and the optimal group size, from as few as 10 students to games suitable for classes of unlimited size. The game's instructional objective -- for example, vocabulary expansion -- the materials needed, a full description and additional suggestions are all provided, with all that remains being for you and your class to enjoy the wonderfully creative ideas that Jerry Steinberg has put into book form for you. Originally published more than 20 years ago, Games Language People Play has continued to delight teachers and students of English every year since then.

A multimodal approach to linguistic landscapes that analyses the affective regimes of different landscape categories.

Interest in language play and linguistic creativity has increased in recent years, and the topic has been taken up from a variety of perspectives. In this book, disparate approaches to the topic are brought together, demonstrating that a number of phenomena whose similarities might not have been immediately recognized, have an academic home under the umbrella of language play and linguistic creativity. The contributions to this collection illustrate the variety of questions that can be asked regarding the social, cognitive, emotional, political, and cultural mechanisms and significance of innovative linguistic practices and point to new directions of inquiry. Furthermore, the work exemplifies a variety of ways in which this research can be carried out, as well as the range of contexts in which it might be investigated, including second language classrooms, online settings, and workplaces. Taken together, the chapters serve to illustrate the range of work that we will be accepting in the Language Play and Creativity series; viewed individually, each makes a unique contribution to some aspect of our understanding of creative language use.

The studies in this volume show how multilingual learners use language play in second language acquisition to internalize sets of ‘voices’ (rather than decontextualized linguistic systems), namely complexes of linguistic and non-linguistic features incorporating the personalities of significant others. In sociocultural terms, these internalized heteroglossic voices become tools that learners can adapt and use playfully to enact chosen roles, stances, and identities in subsequent oral interactions. Different chapters explore these sociocultural constructs using different approaches, including variationist sociolinguistics, conversation analysis, translanguaging, and positioning theory.

This book focuses on the unexplored context of contemporary Swedish comic strips as sites of innovative linguistic practices, where humor is derived from language play and creativity, often drawing from English and other European languages as well as social and regional dialects of Swedish. The overall purpose of the book is to highlight linguistic playfulness in Swedish comic strips, as an example of practices as yet unobserved and unaccounted for in theories of linguistic humor as applied to comics scholarship. The book familiarizes the reader with the Swedish language and linguistic culture as well as contemporary Swedish comic strips, with chapters focusing on specific strategies of language play and linguistic humor, such as mocking Swedish dialects and Swedish-accented foreign language usage, invoking English language popular culture, swearing in multiple languages, and turn-final code-switching to English to signal the punchline. The book will appeal to readers interested in humor, comics, or how linguistic innovation, language play, and language contact each can further the modern development of language, exemplified by the case of Swedish.