I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.

I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.

For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.

Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)

Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. Yet some limitation there must be to this freedom, some resistance of the medium.

In great art there is the illusion of absolute freedom. The formal restraints imposed by the material are not perceived; it is as though there were a limitless margin of elbow room between the artist’s fullest utilization of form and the most that the material is innately capable of. The artist has intuitively surrendered to the inescapable tyranny of the material, made its brute nature fuse easily with his conception. The material “disappears” precisely because there is nothing in the artist’s conception to indicate that any other material exists. For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey.

Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. All his effects have been calculated, or intuitively felt, with reference to the formal “genius” of his own language; they cannot be carried over without loss or modification. Croce is therefore perfectly right in saying that a work of literary art can never be translated. Nevertheless, literature does get itself translated, sometimes with astonishing adequacy.

Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)

Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. Yet some limitation there must be to this freedom, some resistance of the medium.

In great art there is the illusion of absolute freedom. The formal restraints imposed by the material are not perceived; it is as though there were a limitless margin of elbow room between the artist’s fullest utilization of form and the most that the material is innately capable of. The artist has intuitively surrendered to the inescapable tyranny of the material, made its brute nature fuse easily with his conception. The material “disappears” precisely because there is nothing in the artist’s conception to indicate that any other material exists. For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey.

Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. All his effects have been calculated, or intuitively felt, with reference to the formal “genius” of his own language; they cannot be carried over without loss or modification. Croce is therefore perfectly right in saying that a work of literary art can never be translated. Nevertheless, literature does get itself translated, sometimes with astonishing adequacy.

Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)

Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. Yet some limitation there must be to this freedom, some resistance of the medium.

In great art there is the illusion of absolute freedom. The formal restraints imposed by the material are not perceived; it is as though there were a limitless margin of elbow room between the artist’s fullest utilization of form and the most that the material is innately capable of. The artist has intuitively surrendered to the inescapable tyranny of the material, made its brute nature fuse easily with his conception. The material “disappears” precisely because there is nothing in the artist’s conception to indicate that any other material exists. For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey.

Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. All his effects have been calculated, or intuitively felt, with reference to the formal “genius” of his own language; they cannot be carried over without loss or modification. Croce is therefore perfectly right in saying that a work of literary art can never be translated. Nevertheless, literature does get itself translated, sometimes with astonishing adequacy.

Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)

Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. Yet some limitation there must be to this freedom, some resistance of the medium.

In great art there is the illusion of absolute freedom. The formal restraints imposed by the material are not perceived; it is as though there were a limitless margin of elbow room between the artist’s fullest utilization of form and the most that the material is innately capable of. The artist has intuitively surrendered to the inescapable tyranny of the material, made its brute nature fuse easily with his conception. The material “disappears” precisely because there is nothing in the artist’s conception to indicate that any other material exists. For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey.

Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. All his effects have been calculated, or intuitively felt, with reference to the formal “genius” of his own language; they cannot be carried over without loss or modification. Croce is therefore perfectly right in saying that a work of literary art can never be translated. Nevertheless, literature does get itself translated, sometimes with astonishing adequacy.

Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)

English’s rise as an international language has been accompanied by an increase in emphasis on English language education in traditionally EFL setting. Learners worldwide are often accustomed to taking mandatory English language classes within their national school systems, and assessing practices used within these educational systems are often positioned as gatekeepers for further educational progression. In Japan, for example, English is compulsory for all students, and is often the only foreign language taught in school. Success in English language tests in high school directly impacts learners’ access to higher education due to the fact that English tests make up a large component of junior high school, high school, and university entrance examinations. Upon entering university, undergraduate students take at least two years of English classes, even in unrelated majors. In China, English education is compulsory in primary schools from Grade 3, although many schools start earlier than this. Like Japan, it’s also compulsory in most Chinese colleges and universities for the first two years, and the College English Test is becoming an increasingly predominant measure of success in these programs, with some universities requiring it for graduation. South Korea also tests English in the national College Scholastic Ability Test (CSAT), which is necessary to enter South Korean universities. Neighboring countries in Asia are also starting to follow suit; in Vietnam, over 90 percent of children are engaged in English language study, and it is compulsory in most secondary schools, where all students must pass an English test in order to graduate. Similar situations can be found across Europe and Latin America. In Italy, for example, English language has been promoted in educational policy that encourages Content and Language Integrated Learning (CLIL), where students are taught subjects such as history, mathematics, sciences and sport through English. Thus English knowledge not only affects performance on language tests but also the teaching of other subjects of study.