List of Illustrations

Fig. 1

Mohandas K. Gandhi in South Africa (1906). Wikimedia Commons, Public Domain, https://commons.wikimedia.org/wiki/File:Gandhi_London_1906.jpg#/media/File:Gandhi_London_1906.jpg

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Fig. 2

Sheela Mahadevan with her grandparents Ganga Narayanan and Guruvayur Krishna Narayanan. Reproduced with their kind permission. Photograph by Subramaniam Mahadevan (2020).

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Fig. 3

London Bus 29. Photograph by mattbuck (2012). Wikimedia Commons, CC BY-SA 3.0, https://en.wikipedia.org/wiki/London_Buses_route_29#/media/File:Camden_Road_railway_station_MMB_05.jpg

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Fig. 4

Ramen with soft boiled egg, shrimp and snow peas. Photograph by Michele Blackwell (2019) on Unsplash, https://unsplash.com/photos/rAyCBQTH7ws

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Fig. 1

Even well-worn metaphors are not ‘dead’. They can gain new force when they are highlighted as meaningful, for example by elaboration. Peanuts © 1976 Peanuts Worldwide LLC. Dist. by Andrews McMeel Syndication. Reprinted with permission. All rights reserved.

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Fig. 2

This cartoon about examinations of doctoral theses exemplifies the conceptual metaphor that ‘ARGUMENT IS WAR’. ‘Thesis Defense’ (2014), xkcd.com, CC BY-NC 2.5, https://imgs.xkcd.com/comics/thesis_defense.png

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Fig. 3

‘That’s one small step for a man, one giant leap for mankind’ (Neil Armstrong). This is a photograph by Neil Armstrong of his fellow astronaut Buzz Aldrin on the Moon (1969). NASA. Wikimedia Commons, Public Domain, https://commons.wikimedia.org/wiki/File:Aldrin_Apollo_11_original.jpg#/media/File:Aldrin_Apollo_11_original.jpg

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Fig. 4

The flyer announcing performances of Yòrùbá Sonnets in 2019 at Wolfson College, Oxford, and other venues visually and textually signals an exuberant fusion of ethnic heritage, cultures, traditions, languages and artistic forms. Babalolá et al. 2019c. Reproduced by kind permission of Lékan Babalolá.

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Fig. 1

Francis (?) Darwin (c. 1858). Drawing on the back of the original manuscript for Charles Darwin’s On the Origin of Species (1859) by one of Darwin’s children. Reproduced by kind permission of William Darwin.

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Fig. 2

Akkadian cuneiform on the wings of a stone bas-relief eagle-headed genie from Nimrud, Assyria. This giant figure was meant to magically protect a doorway. Held at the Ashmolean Museum, Oxford. Reproduced by kind permission of the Ashmolean Museum, Oxford (exhibit); photograph by Felice S. Wyndham (2014).

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Fig. 3

Children’s mural depicting a kingfisher, leaves and river names, West Oxford Community Centre. Photograph by kind permission of Felice S. Wyndham (2019).

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Fig. 4

Abel Rodríguez, Ciclo anual del bosque de la vega (2009–2010). Details of ecological relations with land animals and fish, drawn from memory by Abel Rodríguez, Nonuya Indigenous man from the Middle Caquetá River. He is a great authority on the world of plants and forests, and is considered a leading light for the exchange of knowledge with the academy and the art world, based on his interaction of more than three decades with researchers in the tropical forest. Reproduced by kind permission of Abel Rodríguez.

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Fig. 5

Logo of the 2019 symposium Intersections of Language and Nature, organized by Karen Park, Felice S. Wyndham, John Fanshawe and Andrew Gosler. It brought together scholars from Indigenous communities, conservation practice, the arts and academia to address the parallel and intersecting threats facing linguistic and biological diversity (www.iln2019.com). Reproduced by kind permission from Karen Park.

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Fig. 1

Félix Gallet, ‘Arbre généalogique des langues mortes et vivantes [...]’ (‘Genealogical tree of dead and living languages [...]’) (Paris, c. 1800). Bibliothèque nationale de France. Public Domain, https://gallica.bnf.fr/ark:/12148/bpt6k8546015

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Fig. 1

Left to right: Simon Redgrave from Punch Records and artists Ky’Orion and RTKal, speaking after a performance at the first Creative Multilingualism conference, Taylor Institution, University of Oxford, 28 January 2017. Reproduced by kind permission of Kyle Greaves aka Ky’Orion, Joshua Holness aka RTKal and Simon Redgrave. Photograph by John Cairns (2017), CC BY-NC.

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Fig. 2

Left to right: Lady Sanity, Rajinder Dudrah, Stanza Divan and Noah Birksted-Breen at a Q & A following the Research and Development performance of Oxygen at Birmingham City University, 11 October 2018. Reproduced by kind permission of Noah Birksted-Breen, Rajinder Dudrah, Liam Lazare-Parris aka Stanza Divan and Sherelle Robbins aka Lady Sanity. Photograph by Katy Terry (2018), CC BY-NC.

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Fig. 3

RTKal performing at the first Creative Multilingualism conference, Taylor Institution, University of Oxford, 28 January 2017. Reproduced by kind permission of Joshua Holness aka RTKal. Photograph by John Cairns (2017), CC BY-NC.

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Fig. 1

Wen-chin Ouyang. Reproduced with her kind permission. Photograph by Dai Yazhen (2018).

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Fig. 2

Yamlīkha, who tells the young Hāsib a story in ‘The Tale of Hāsib Karīm al-Dīn’ from The Arabian Nights, is a serpent queen, a common motif in world literature. Nuwa, the Chinese goddess of creation depicted here, is imagined as a serpent queen. Illustration from Edward T. Chalmers Werner. 1922. Myths and Legends of China (New York: Harrap). Wikimedia Commons, Public Domain, https://commons.wikimedia.org/wiki/File:Nuwa2.jpg#/media/File:Nuwa2.jpg

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Fig. 3

Sun Wukong, the hero of The Journey to the West, transforms his hair into miniature monkey kings. Screenshot from The Monkey King 西游記之大鬧天宮. 2014. Directed by Cheang Pou-soi.

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Fig. 4.

‘Nine Tails Fox’, from the Chinese Classic of Mountains and Seas (山海經), which has existed since the fourth century. Image by Hu Wenhuan 胡文煥 (1596–1650) in 山海經圖 (sixteenth century). Wikimedia Commons, Public Domain, https://commons.wikimedia.org/wiki/File:%E5%8D%97%E5%B1%B1%E7%B6%93-%E4%B9%9 D%E5%B0%BE%E7%8B%90.svg

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Fig. 5

Douglas Fairbanks Jr. in Sinbad the Sailor (1947). Directed by Richard Wallace. Visualization of Sinbad in this film is arguably a creative fusion of Arabic storytelling, European translation, orientalist fantasy and Hollywood filmmaking.

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Fig. 1

This map shows the global distribution of translations of Jane Eyre, from the first one in 1848 to the present day, in Prismatic Jane Eyre: An Experiment in the Study of Translations, https://prismaticjaneeyre.org/maps/. Reproduced by kind permission of Matthew Reynolds and Giovanni Pietro Vitali.

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Fig. 2

Eleni Philippou. Reproduced with her kind permission. Photograph by Keith Barnes (2019).

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Fig. 3

‘Semantic Selectivity’, Alexander G. Huth et al. (2016). This figure presents a ‘semantic atlas’ of the human brain. Using fMRI, the authors mapped which brain areas respond to the meanings of each word, discovering that these maps are highly similar across individuals speaking the same language. © Alexander Huth / The Regents of the University of California.

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Fig. 4

Mukahang Limbu. Reproduced with his kind permission. Photograph by Helen Bowell (2018).

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Fig. 1

Photograph by Mykl Roventine (2009), Wikimedia Commons, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=8277883

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Fig. 2

Photograph by owner of Pet Rock Net (2003), Wikimedia Commons, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=7549364#/media/File:Pet_rock.jpg

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Fig. 3

Photograph by Sherwin Ilagan Solina (2011), Wikimedia Commons, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17836500

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Fig. 4

Photograph by Camlacaze (2013), CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=42135378

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Fig. 1

Family tree diagram depicting relationships between Indo-European languages — assuming a common ancestor that remains elusive (2020). Reproduced by kind permission of Chiara Cappellaro.

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Fig. 2

Multilingual Performance Project workshop, 2019. Photograph by Ben Gregory-Ring (2019).

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Fig. 1

George Hodgson. Reproduced with his kind permission. Photograph by Maimouna Dembele (2018).

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Fig. 2

Jessica Benhamou. Reproduced with her kind permission. Photograph by Brittany Ashworth, CC BY.

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Fig. 3

Which Sectors do Modern Languages Graduates Work in?

Data collected by the University of Oxford Careers Service. Diagram by Katy Terry (2020).

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Fig. 1

Sign languages build on visible cues such as facial expression and gesture. Unlike British Sign Language (BSL), ‘Urban Sign Language’ (USL) has no official status. It reflects shared usage in parts of the Birmingham deaf community. Posters created for the Slanguages exhibition 2017, Wolfson College, Oxford, reproduced by kind permission of Rinkoo Barpaga (Artist), Nick Drew (Design), Rajinder Dudrah (Birmingham City University) and Simon Redgrave (Punch Records).

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Fig. 2

Esperanto vocabulary is mainly derived from Romance languages. Nouns have no grammatical gender. Can you spot the markers for nouns, noun plurals and adjectives?

Some common words in Esperanto. Picture compilation by Sharlene Matharu (2020).

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Fig. 1

Communication network. Image by Gordon Johnson, from Pixabay, https://pixabay.com/vectors/social-media-connections-networking-3846597/

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Fig. 1

Mannequins Edna and Eddie helped Creative Multilingualism to make language visible at public engagement events. Here is team member Edna eliciting body part metaphors at Curiosity Carnival in Oxford’s Natural History Museum, on 29 September 2017. Photograph by Ian Wallman (2017).

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