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Heritage language speakers often feel discouraged from using their heritage language because they are told they do not speak it well. This book offsets such views by investigating heritage language variation and change across generations in eight languages spoken in Toronto. It introduces new methodology to help readers understand and apply variationist sociolinguistic approaches to quantitatively analyze spontaneous speech. This approach, based on a corpus of 400+ speakers, shows that variation and change across the grammar of heritage languages resemble the patterns in hegemonic majority languages, contrasting with the simplification/attrition patterns in experimental heritage language studies. Chapters compare patterns across generations, across languages, across ten variables in Cantonese, and between indexical and non-indexical patterns. Heritage language speakers are quoted, showing that this research increases heritage language usage and pride. Providing a tool for language revitalization, this book is essential reading for anyone interested in learning about and/or conducting research on heritage languages.

Translation and commentary are often associated with institutions and patronage; but in Italy around the time of Dante, widespread vernacular translation was mostly on the spontaneous initiative of individuals. While Dante is usually the starting point for histories of vernacular translation in Europe, this book demonstrates that The Divine Comedy places itself in opposition to a vast vernacular literature already in circulation among its readers. Alison Cornish explores the anxiety of vernacularization as expressed by translators and contemporary authors, the prevalence of translation in religious experience, the role of scribal mediation, the influence of the Italian reception of French literature on that literature, and how translating into the vernacular became a project of nation-building only after its virtual demise during the Humanist period. Vernacular translation was a phenomenon with which all authors in thirteenth- and fourteenth-century Europe - from Brunetto Latini to Giovanni Boccaccio - had to contend.